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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


From  the  £state 

of 
Urie  McClearv 


BOOKS 

J<>«n  Freneh 


(^^^Lm^  c^>^ 


STYLES  OF  ORNAMENT 


EXHIBITED  IN  DESIGNS  AND  ARRANGED  IN 
HISTORICAL  ORDER  WITH  DESCRIPTIVE  TEXT. 


A  HANDBOOK  FOR  ARCHITECTS,  DESIGNERS,  PAINTERS,  SCULPTORS, 
WOOD -CARVERS,  CHASERS,  MODELLERS,  CABINET-MAKERS  AND 
ARTISTIC  LOCKSMITHS  AS  WELL  AS  ALSO  FOR  TECHNICAL  SCHOOLS, 

LIBRARIES  AND  PRIVATE  STUDY 


BY 


ALEXANDER  SPELTZ 

ARCHITECT 


TRANSLATED  FROM  THE  SECOND  GERMAN  EDITION  BY  DAVID  O'CONOR 


400  FULL -PAGES  ILLUSTRATIONS 
WITH  ILLUSTRATED   DESCRIPTIVE 

TEXT 


E.   WEYHE    .    710  LEXINGTON  AVENUE    •    NEW   YORK 


<r    l]a 


1^ 


I'  r  i  ti  t  e  .1    b  y    I".   A.   B  P  O  C  K  H  A  M  S  ,     F,  p  i  p  z  i  k 


ARTS 

SRLF 
AFTTS 


EDITOR'S  PREFACE 


The  first  German  edition  of  this  worit  was  published  in  1904  and  met  with 
such  signal  success  that  its  author  Herr  Alexander  Speltz  was  called  upon  to 
bring  out  a  second  edition  two  years  later.  In  this  edition  the  number  of  plates 
was  increased  from  three  to  four  hundred  which  enabled  the  author  to  give  a 
more  complete  representation  of  ornament  as  developed  in  England  and  America 
than  had  been  at  first  contemplated. 

The  original  work  was  undertaken  with  the  object  of  representing  the  entire 
range  of  ornament  in  all  its  different  styles  from  pre-historic  times  till  the  middle 
of  the  19*^  century  and  to  illustrate  the  different  uses  to  which  it  had  been 
applied.  The  whole  of  the  illustrations  which  were  taken  from  the  best  autho- 
rities on  each  subject  and  period  were  drawn  specially  for  the  work  and  evince 
the  remarkable  industry  and  knowledge  of  the  author  and  his  artistic  power  in 
representing  ornament.  In  fact  it  is  only  necessary  to  glance  through  the  several 
plates  to  see  how  closely  the  author  has  caught  the  style  and  character  of  each 
period.  Acknowledgments  of  the  sources  are  made  throughout  the  work  and  in 
addition  a  special  list  of  books  of  reference,  including  those  which  have  been 
drawn  upon  for  illustrations,  has  been  inserted  at  the  end  of  the  volume. 

An  English  edition  was  published  in  America  in  1906  for  sale  in  that  country 
only,  but  the  historical  accounts  were  not  in  accordance  with  the  latest  research 
and  many  of  the  descriptions  to  the  plates  had  suffered  so  much  in  translation 
that  very  considerable  revision  was  necessary  in  preparing  the  present  issue. 
Three  new  plates  of  English  Ornament  have  been  added  to  this  edition  taking 
the  place  of  others  which  it  was  found  necessary  to  delete,  various  changes 
have  also  been  made  in  the  headings  to  some  of  the  chapters  and  in  the  terms 
employed,  more  particularly  in  the  section  devoted  to  the  Renaissance  period; 
for  instance  the  term  "Barocco",  which  although  well-known  and  recognised 
throughout  Germany  is  but  seldom  used  here,  has  been  replaced  by  "Later 
Renaissance"  which  is  more  familiar  to  the  English  student  and  includes  that 
which  used  to  be  known  as  the  pure  Italian  style  introduced  by  Inigo  Jones. 


IV  EDITOR'S  PREFACE. 

The  term  Rococo  has  been  retained  as  it  would  have  been  difficult  to  find  any 
other  to  suggest  the  vagaries  of  the  Louis  XV.  style  which  spread  through  Italy, 
France,  Spain,  Germany  and  Flanders  and  here  in  England  led  to  Chippendale's 
work;  the  terms  adopted  to  distinguish  the  later  periods  are  adhered  to  as 
in  the  original  edition. 

The  plates  and  their  accompanying  descriptions  being  arranged  throughout 
in  chronological  sequence  renders  an  index  a  very  important  adjunct  and  special 
care  has  been  taken  in  preparing  that  given  in  the  work.  The  examples  are 
entered  according  to  both  subject  and  material  and  the  periods  to  which  they 
relate  are  indicated,  thus  enabling  any  particular  object  in  any  style  to  be  imme- 
diately referred-to. 

The  400  plates  in  which  the  several  styles  of  ornament  are  illustrated  contain 
a  larger  and  much  more  varied  series  than  in  any  work  hitherto  published, 
indeed  the  volume  forms  a  veritable  encyclopaedia  of  the  evolution  development 
and  application  of  ornament  in  architecture  and  the  decorative  arts  throughout 
the  ages,  and  it  should  prove  of  great  value  to  the  architect,  craftsman,  designer 
and  student. 

LONDON,  January  1910. 

R.  PHENE  SPIERS. 


CONTENTS. 


Plates  Page 

Introduction —  1 

Prehistoric  and  Primitive  Ornament 1 — 3  3 

ANTIQUITY  4-56  1 1 

Egyptian  Ornament 4 — 7  12 

Babylonian-Assyrian  Ornament 8 — 10  22 

Persian  Ornament 11—12  29 

Phoenician-Hebraic  Ornament .     .  13  34 

Indian  Ornament 14 — 16  37 

Greek  Ornament    .     •     • .  17—30  43 

Etruscan  Ornament 31—32  67 

Roman  Ornament 33—44  71 

Pompeian  Ornament 45—49  91 

Celtic  Ornament 50—56  90 

THE  MIDDLE  AGES  57-200  113 

Early-Christian  Ornament 57—62  114 

Lombardo-Byzantine  Ornament  in  Italy 57 — 58  118 

Visigothic  Ornament  in  Spain 59  122 

Italo-Byzantine  Ornament  in  Italy 60,  62  122 

Prankish  Ornament 61  122 

Byzantine  Ornament 63—70  125 

Byzantine  Ornament  in  Spain 69 — 70  132 

R@manesque  Ornament 71  — 107  137 

Romanesque  Ornament  in  Germany 71 — 77  139 

Romanesque  Ornament  in  France 78 — 85  149 

Romanesque  Ornament  in  Upper  and  Middle  Italy     .     .  86 — 88  161 

Saracen-Norman  Ornament  in  Sicily  and  Lower  Italy      .  89 — 91  161 

Romanesque  Ornament  in  Spain .  92 — 94  169 

Romanesque  Ornament  in  England 95 — 101  173 

Romanesque  Ornament  in  Scandinavia 102 — 107  183 


VI  SUMMARY  OF  CONTENTS. 

Plates  Page 

Russian  Ornament 108—111  193 

Mahometan  Ornament 112 — 134  198 

Arabian  Ornament 112  —  115  203 

Moorish  Ornament 116—120  207 

Saracenic  Ornament 121  214 

Ottoman  Ornament 122—126  214 

Persian  Ornament 127—130  225 

Indo-Saracenic  Ornament 131  — 134  231 

Gothic  Ornament 135—188  235 

Gothic  Ornament  in  France 135 — 143  238 

Gothic  Ornament  in  the  Netherlands 144 — 145  252 

Gothic  Ornament  in  England 146—160  254 

Gothic  Ornament  in  Germany  and  Austria 161 — 176  274 

Gothic  Ornament  in  Italy 177—183  298 

Gothic  Ornament  in  Spain 184—188  310 

Chinese  Ornament 189—193  316 

Cambodian  Ornament 194—195  324 

Japanese  Ornament 196—200  327 

RENAISSANCE  and  MODERN  TIMES    201 -400  337 

Renaissance  Ornament 201—270  339 

Renaissance  in  Italy 201—215  341 

Florence 201—202  343 

Rome 203—204  343 

Venice 205—206  349 

Various 207—215  349 

Renaissance  in  France 216 — 226  362 

Renaissance  Ornament  in  Spain  and  Portugal    ....  227 — 234  377 

Renaissance  in  Germany,  Austria  and  Switzerland  .     .     .  235 — 248  388 

Swiss  Renaissance  Wood  Buildings 249 — 250  408 

Renaissance  Ornament  in  Hungary 251  412 

Renaissance  Ornament  in  the  Netherlands 252 — 255  414 

Ornament  of  the  Northern  Renaissance 256 — 257  419 

Slavonic  Renaissance  Ornament 258 — 260  422 

Renaissance  Ornament  in  Poland 258  422 

Renaissance  Ornament  in  Russia 259 — 260  427 

Renaissance  Ornament  in  England 261 — 270  428 

Later  Renaissance  Ornament 271 — 311  443 

Later  Renaissance  Ornament  in  Italy 271 — 275  445 

Later  Renaissance  Ornament  in  France  (Louis  XIV.  Style)  276 — 286  453 

Later  Renaissance   Ornament   in   Germany,    Austria   and 

Switzerland 287—295  468 

Later  Renaissance  Ornament  in  the  Netherlands     .     .     .  296 — 298  481 

Later  Renaissance  Ornament  in  England 299 — 311  487 


SUMMARY  OF  CONTENTS.  VI! 

Plates  Page 

Rococo  Ornament 312—333  503 

Rococo  Ornament  in  Italy 313  507 

Rococo  Ornament  in  France  (Louis  XV.  Style) 314—322  509 

Rococo  Ornament  in  Germany  and  Austria 323—330  519 

Rococo  Ornament  in  England  (Chippendale  Style).     .     .     .  331 — 333  531 

Colonial  Style  Ornament  in  the  United  States   ....  334—339  534 

Ornament  of  the  Classical  Revival  of  the  18*"  Century  340—376  543 

18'^  century  Ornament  in  Italy 340—342  545 

18*^  century  Ornament  in  France  (Louis  XVL  Style)  .     .     .  343—350  549 

18'^  century  Ornament  in  the  Netherlands 351  559 

18*''  century  Ornament  in  Germany 352—354  559 

18'''  century  Ornament  in  England 355—376  565 

Examples  of  the  work  of  R.  and  J.  Adam 355 — 369  565 

Furniture  made  from  designs  by  Sheraton 370 — 372  579 

Furniture  made  from  designs  by  Hepplewhite   ....         373  585 

Work  prepared  from  various  designs 374 — 376  585 

Empire  Ornament 377—393  592 

Empire  Ornament  in  France 377 — 385  592 

Examples  of  the  work  of  Percier  and  Fontaine       .     .     .  377 — 383  592 

Various  designs 384,  385  597 

Later  Empire 386  605 

Empire  Ornament  in  Italy .  387—389  606 

Examples  of  the  work  of  Guiseppe  Borsato      ....         388  606 

Empire  Ornament  in  Germany 390—393  611 

Biedermeier  or  old  fashioned  Style  in  Germany     .     .     .  394,  395  617 

Neogrec  Ornament  in  Germany 396—400  621 

List  of  Reference  books     . 627 

Index  of  illustrations  according  to  subject  and  material  630 


INTRODUCTION. 


ighlly  understood,  the  conformation  of  an  ornament  should 
be  in  keeping  with  the  form  and  structure  of  the  object 
which  it  adorns,  should  be  in  complete  subordination  to 
it,  and  should  never  stifle  or  conceal  it.    As  varied  and 
as  many-sided  as  it  may  be,  still,  the  Art  of  ornamen- 
tation is  never  an  arbitrary  one;  besides  depending  on 
the  form  of  the  object,  it  is  influenced  also  by  the  nature 
of  the  material  of  which  the  same  is  made,  as  well 
as  by  the  style  or  manner  in  which  natural  objects 
are  reproduced  in  ornamentation  by  different  peoples 
at  different  times.    The  art  of  ornamentation,  there- 
fore,  stands  in   intimate  relationship  with  material, 
purpose,  form,  and  style.     The  oldest  forms 

^  of  ornamentation  consisted  of  geometric  figures, 

Initial   from   a   German   manu-  „    .    .       ,       ,       ,     .  ,  ,        , 

script.  12th  century  (Dolmetsch).  small  circles,  bands,  straight  and  curved  lines, 

&c,  all  of  which  were  drawn  with  categorical 
regularity  and  according  to  a  certain  rhythm.  With  the  advance  in  the  intellectual 
development  of  mankind,  artists  acquired  more  technical  skill,  and  ventured  even 
to  make  use  of  animals,  plants,  and,  finally,  of  the  human  figure  itself,  for  orna- 
mental purposes.  A  plant  or  a  living  being  can  be  employed  in  ornamentation 
in  two  ways,  firstly,  just  as  it  is  formed  by  nature — which  is  naturalistic  Orna- 
ment, and  secondly,  in  a  form  which  reflects  the  spirit  of  the  times,  the  political 
or  religious  ideas  of  the  peoples,  or  the  effects  of  foreign  influence — where  by 

SPELT Z,  Styles  of  Ornament.  1 


2  INTRODUCTION. 

was  formed  the  stylistic  Ornament.  Each  style  exhibits  one  and  the  same  plant 
and  one  and  the  same  animal  in  a  different  fashion.  Each  country  sought  the 
models  for  its  own  ornamentation  in  its  own  Fauna  and  Flora,  and  each  style 
had  certain  plants  and  animals  which  it  preferred  to  all  others.  Style  is  really 
more  the  product  of  one  epoch  of  time  rather  than  of  a  single  people,  and  it  is 
according  to  this  chronological  standpoint  that  the  present  work  has  been  ar- 
ranged. In  keeping  with  the  tendency  of  the  work,  it  may  be  remarked  that 
the  illustrations,  are  all  reproductions  of  such  objects  only  as  were  really  produced 
at  the  period  for  which  the  style  is  characteristic. 


Stonehenge  near  Salisbury. 


PREHISTORIC  AND  PRIMITIVE  ORNAMENT. 


Stonerelief  from  Yucatan 

(Globus  1884). 


ivided  according  to  the  periods  of  development 
during  which  it  existed,  Prehistoric   Ornament 
extends  over  two  great  epochs:  the  Stone  Age 
and  the  Metal  Age.     It  is,  however,   charac- 
teristic not  alone  of  all  peoples  who   lived 
on  the  earth  in  Prehistoric  times,  peoples  se- 
parated  by   thousands   of   years   from    each 
other,   but  even  of  people  who  exist  at  the 
present   day.     We  find  the  Prehistoric  Orna- 
ment not  only  amongst  the  remains  of   those 
races  of  people  who  lived  along  the    Medi- 
terranean over  6000  years  ago,  but  also  the 
primitive   ornament  amongst  different   people 
who  inhabit  certain  parts  of  the  earth  at  present  but  who  have  not  yet  advanced 
beyond  that  stage  civilisation  to  which  this  style  of  Ornament  is  peculiar. 
Prehistoric  ornament  embraces  two  periods:  the  Stone  Age  and  the  Metal  Age. 
The  Stone  Age  is  generally  supposed  to  have  begun  at  the  end  of  the  last 
period  of  the   Tertiary   Age,  distinct  proofs  place  it  at  the  last  epoch  of  the 
Diluvian  Era.     During  the  Paleolithic  or  Ancient  Stone  Age,  stone  was  habitu- 
ally used  as  the  material  from  which  tools  were  made;  in  the  Neolithic  or  later 
Stone  Age  the  tools  were  polished  and  given  an  artistic  form,  and  vessels  made 
of  clay  decorated  with  simple  ornamentations  were  manufactured.   Lake  dwellings, 
the  burying  of  the  dead  in  caves,  middens,  barrows,  cromlechs,  and  other  nu- 
merous Megalithic  monuments,  the  use  and  purpose  of  which  are  still  matter 
of  speculation,  are  all  characteristic  of  this  era.    In  the  course  of  time  these 
early  inhabitants  arrived  at  a  stage  of  development  which  enabled  them  to  make 


1* 


4  PREHISTORIC  ORNAMENT. 

use  of  metals,  bronze  being  first  employed  and  later  on  iron,  the  different  periods 
being  designated  as  the  Earlier  and  Later  Bronze  Age  and  the  Earlier  and  Later 
Iron  Age.  The  use  of  bronze  was  introduced  from  the  East  throughout  the 
entire  of  Europe  at  about  the  year  1 500  B.  C.  The  Later  Bronze  Age  extended 
only  over  the  middle  and  north  of  Europe  and  dates  from  about  1000  to  600  B.C. 
Iron  was  however  already  worked  during  this  period  in  the  countries  bordering 
on  the  Mediterranean,  and  was  besides  extensively  known  to  the  Assyrians  in 
the  ninth  century  before  Christ.  In  all  probability  the  use  of  iron  was  intro- 
duced from  Assyria  into  Europe,  where,  in  consequence  of  its  introduction, 
new  forms  were  given  to  arms,  tools,  and  implements  of  all  kinds.  Iron  was 
now  used  almost  entirely  for  arms  and  tools,  bronze  being  employed  for  artistic 
work.  The  Earlier  or  Ancient  Iron  Age  is  called  also  the  Hallstadt  Period, 
Hallstadt  being  a  locality  in  the  Salzkammergut  where  all  the  greatest  and  most 
important  discoveries  dealing  with  this  period  were  made.  The  Later  Iron  Age, 
designated  also  as  the  La  Tene  Period  in  consequence  of  the  discovery  of  remains 
found  in  the  castle  in  the  island  La  Tene  in  the  Lake  of  Neuchatel,  dates  from 
400  to  100  B.  C,  and  is  confined  generally  speaking  to  the  Gallic  races. 

Even  in  those  prehistoric  times  a  very  lively  commercial  intercourse  existed 
between  the  different  peoples.  The  locality,  therefore,  where  a  certain  article 
has  been  discovered  cannot  by  any  means  be  accepted  as  the  country  of  its  origin. 
It  could  just  as  well  have  been  manufactured  by  another  people  more  advanced 
in  civilisation,  and  have  been  brought  by  itinerant  traders  to  the  locality  where 
it  was  eventually  found. 

The  Stone  and  Metal  periods,  however,  are  not  confined  alone  to  those  pre- 
historic peoples  who  have  long  since  passed  away,  and  of  whose  names  or 
descent  we  have  never  been  able  to  acquire  the  slightest  knowledge.  There  are 
people  in  Asia,  Africa,  America,  and  Australia,  at  the  present  day,  who  have  not 
even  yet  arrived  so  far  as  the  Metal  period.  The  inhabitants  of  America  at  the 
time  of  its  discovery  had  not  yet  advanced  beyond  the  Stone  or  Metal  Age. 
Examples  of  their  work  are  therefore  included  in  the  two  plates  dealing  with 
these  periods. 

Prehistoric  and  the  Primitive  Ornaments  may  be  said  to  be  purely  geometric 
ones,  the  artists  of  the  time  rising  very  seldom  to  such  heights  as  to  try  and 
imitate  in  their  work  the  figures  of  men,  animals,  or  plants.  Altough  there  cannot 
be  any  mention  of  "style"  in  connection  with  it  as  it  was  so  disconnected,  and 
so  widely  separated  by  time  and  space — still.  Prehistoric  ornament  as  such  formed 
the  foundation  upon  which  genuine  styles  were  constructed  later  on. 


Plate  1, 


PREHISTORIC  ORNAMENT. 


PREHISTORIC  ORNAMENT. 


Plate  2. 


PREHISTORIC  ORNAMENT.  7 

Plate  1. 

Prehistoric  Ornament. 

Fig.    1.  Ivory  carving  found  in  a  cave  in  Lourdes  (Hoerner,  Urgeschichte). 

„  2.  Ivory  carving  found  in  Arudy  (Basses  Pyrenees),  France  (Hoerner). 

„  3.  Ivory  carving  found  in  Brassempoy,  France  (Hoerner). 

„  4.  Clay  statuette  found  in  Budmir,  Bosnia  (Hoerner). 

„  5,  and  6.    Eartlienware  vessels  found  in  Budmir,  Bosnia  (Hoerner). 

„  7.  Vessel  found  in  the  pile-dwellings  on  Laibach  Moor,  later  Stone  Age  (Hoerner). 

„  8.  Bronze  object  from  the  first  Iron  Age  found  in  Hungary  (Hoerner). 

„  9.  Bronze  jewel  found  in  Hungary  (Hoerner). 

„  10.  Bronze  needle  (Brockhaus,  Konversationslexicon). 

„  11,  Earthenware  vessel  found  in  Odenburg,  first  Stone  Age  (Hoerner). 

„  12.  Urn  found  in  West  Prussia  (Hoerner). 

„  13.  Urn  found  in  Borgstedfeld,  Holstein  (Hoerner). 

„  14.  Bronze  plate  found  in  Glarinoc,  Bosnia  (Hoerner). 

„  15.  Bronze  greave  found  in  Herzegovina  (Hoerner). 

„  16.  Weapon  found  in  Hungary  (Hoerner). 

„  17.  Iron  dagger  found  in  the  Lake  of  Garda  (Hoerner). 

„  18.  Fragment  of  an  engraved  bronze  girdle  found  in  Chodschali  in  Transcaucasia 

(Hoerner). 

„  19.  Jewel  from  the  gold-discoveries  in  Vettersfelde  (Hoerner). 

„  20.  Lance-head,  Germany  (Hoerner). 

„  21,  22,  and  28.   Wicker-work  found  in  the  Swiss   pile-dwellings  (Liibke,  Die  Kunst 

des  Altertums). 

„  23.  Border  ornamentation  of  a  bronze  basin  found  in  the  Wies,  Styria  (Hoerner). 

„  24.  Clay  figure  found  in  a  Boeotian  grave  (Hoerner). 

„  25.  Stone  axe  of  Montezuma  (Sir  John  Evans). 

„  26.  Sword  of  the  Bronze  Age  (Lubke). 

,,  27.  Needle  of  the  Bronze  Age  (Lubke). 

„  29,  and  32.     Bronze  Clasps  (Brockhaus). 

„  30.  Scabbard  (Brockhaus). 

„  31.  Figure  of  Charon  on  a  bronze   relief  plate  found  in  North  Syria  (Hoerner). 

„  33.  Bronze  fibula  (Brockhaus). 

„  34.  Double  earthenware  vessel  found  at  Langenlebron  in  a  grave  of  the  Hall- 

stadt  period  (Hoerner). 

„  35.  Scissors  (Brockhaus). 

„  36.  Bronze  wedge  (Brockhaus). 

„  37.  Neck  ornament  (Liibke). 

„  38.  Needle  (Liibke). 

„  39.  Bronze  sword   (Liibke). 

„  40.  Stone  spear-head  (Brockhaus). 

„  41.  Bronze  fibula  (Brockhaus). 

„■■  42.  Stone  knife  (Brockhaus). 

„  43.    Stone  sickle  (Liibke). 

„  44.  Iron  spear-head  (Brockhaus). 

„  45.  Iron  vestment  pin  (Brockhaus). 


8 


PRIMITIVE  ORNAMENT. 


Plate  3. 


">on7  '^v  *?  r^  kj3J'.^ 


PREHISTORIC  ORNAMENT.  9 

Plate  2. 

Prehistoric  Ornament. 

Fig    1.    Ancient  Peruvian  Vase  (Brockhaus  Konversationslexikon). 

2.  Granite  Vase  found  in  Honduras  (Brockhaus). 

3,  4,  26,  27,  41,  42,  and  44.     Bronze  weapons  (Liibke,  Kunst  des  Altertums). 

5,  Urn  found  in  the  district  of  the  Elbe  (Reichhold,  Flachornament  des  Altertums). 

6,  23,  and  30.    Knives  found  in  the  Swiss  pile-dwellings  (Reichhold). 

7,  Relief  on  the  Monolith  Gate  of  Tiahuanaco  (Lubke). 

8,  and  11.    Wedges  of  the  Inkas  period  (Brockhaus). 

9,  10,  12,  and  14.    Earthenware  vessels  found  in  America  (Reichhold). 
13.    Relief  from  a  Mexican  temple  (Brockhaus). 

15.  Earthenware  vessel  found  in  the  island  of  Cyprus  (Reichhold). 

16.  Sepulchral  urn  found  in  England  (Reichhold). 

17.  Sepulchral  urn  found  in  Sweden  (Reichhold). 

18.  Ornament  from  a  building  in  Prinxillo  (Liibke). 

19.  20,  43,  and  45.    Earthenware  vessels  from  the  Middle  Rhine  (Reichhold). 

21.  Old  Italian  sepulchral  urn  with  engraved  ornamentations  (Reichhold). 

22.  Relief  cut  in  the  rocks  in  Izamal,  Yucatan  (Brockhaus). 
24,  25,  28,  29,  31—34,  and  36.    Bronze  jewels  (Lubke). 
35.     Fragment  of  a  column  (American),  found  in  Tula  (Brockhaus). 
37  to  39.    Metal-vessel  ornamentations  of  the  Bronze  Age  (Lubke). 
40.    Idol. 


Plate  3. 

Primitive  Ornament, 

Fig.  1.    Mat  from  the  Southsea  (Finsch,  Erfahrungen  und  Belegstiicke  aus  der  Siidsee). 

„     2.    Fan  screen  of  painted  feathers  from  Australia  (Racinet,  rornement  polychrome). 

„     3,  and  5.    Painting  from  an  Australian  canoe  (Racinet). 

„     4.    Painted  Woodcarving  from  Central  Africa  (Racinet). 

„  6.  Model  of  a  house  of  the  Haida,  Queen  Charlotte's  Islands.  In  the  Anthro- 
pological Museum  of  Berlin. 

„  7.  Ebony  spatula  with  incrusted  work  from  New  Guinea  (Reichhold,  Kunst  und 
Zeichnen). 

„     8.    Specimen  of  woven  work  from  Australia  (Racinet). 

„     9.     Club  from  New  Zealand  (Racinet). 

„    10.    Native  chair,  Camerun.    In  the  anthropological  Museum  of  Berlin. 

„    11.    Woodcarving  from  a  canoe  in  New  Zealand.    In  the  Louvre  (Racinet). 

„  12,  and  13.  Terminal  heads  of  paddles  from  Polynesia  (Glazier,  A  manual  of  Historic 
Ornament). 


Door  of  the  grand  Theocalli  of  Uxmal,  Yucatan  (Gailhabaud,  Denkmaler). 
Frame:  Mexican  Ceramic  Ornaments  in  the  British  Museum  (Owen  Jones, 

Grammar  of  Ornaments). 


I  ^      1^    ^P^y-V^^-J    ^.^^^    M   V     V^  ''^^'-', 


m 


ANTIQUITY. 


Egyptian  wood  columns  (Prisse  d'Avennes,  hist.  d.  I'art  egyptien). 


EGYPTIAN  ORNAMENT. 


&^ 


Egyptian  Dress  (LUbkc). 


ong  before  civilisation  was  known  in  Egypt  there 
existed  at  one  time  in  Ancient  Syria  and  Ba- 
bylonia, countries  once  so  rich  and  flourishing, 
a  civilisation  much  older  than  that  of  Egypt. 
Proofs  of  this  civilisation  have  been  brought 
to  light  in  the  excavations  carried  out  in  recent 
years  in  these  two  countries.  It  is,  however, 
Egypt  that  has  supplied  us  with  those  series 
of  monuments  by  means  of  which  the  most 
ancient  historical  facts  now  in  our  possession 
have  been  put  together  and  verified.  Even 
so  far  back  as  4000  B.  C.  an  extensive  artistic  spirid  reigned  throughout  Egypt. 
The  historic  period  of  the  country,  which  dates  from  about  the  year  3200  B.  C. 
when  Mena  was  king,  comprise  thirty  dynasties,  and  is  divided  in  accordance 
with  the  records  of  the  priest  Manetho  into  four  principal  periods,  namely: 

1.  The  Ancient  Kingdom  dating  from  about  4180  B.  C.  to  about  3000  B.  C. 
This  period,  reached  jts  highest  glory  under  Khyan,  the  last  king  of  the  tenth 
dynasty.     The  city  of  Memphis  in  Lower  Egypt  flourished  during  this  period. 

2.  The  Middle  Kingdom  dates  from  3000  to  1587  B.  C.  The  principal 
centres  were  in  Middle  and  Upper  Egypt  with  the  capital  Thebes.  The  highest 
period  of  development  characteristic  of  this  epoch  was  reached  about  2660  B.  C. 
during  the  12**^  dynasty,  the  decline  and  decay  of  this  development  being  brought 
about  by  the  conquest  of  the  country  by  the  Hyksos  who  had  their  centre  of 
government  in  the  city  of  Tanis. 


EGYPTIAN  ORNAMENT.  13 

3.  The  Modern  Kingdom  dates  from  the  year  1587  to  702  B.C.     The 

principal  city  was  Thebes  in  Upper  Egypt.  The  highest  period  of  development 
was  reached  in  the  years  1516  to  1234  B.  C.  under  Hat-Shepsut,  Rameses, 
Seti,  and  Rameses  II.,  of  the  18**^  and  19*^  dynasties.  The  decline  began  about 
the  year  950  B.  C. 

4.  The  Later  Period  dates  from  the  year  664  B.  C,  the  period  of  the 
restoration  by  Psammeticus  with  the  capital  Sais.  The  final  development  took 
place  under  the  26**^  dynasty  between  the  years  663  to  525  B.  C.  when  the 
country  was  conquered  by  the  Persians,  during  whose  occupation  few  buildings 
were  erected.  In  332  B.  C.  a  revival  took  place  under  the  rule  of  Alexander 
the  Great  which  was  continued  by  the  Ptolemies  from  the  year  323  B.  C.  and 
by  the  Romans  from  31  B.  C. 

The  life  led  by  the  ancient  Egyptians  was  characterised  by  distinctly  marked 
order  and  regularity,  and  to  this  is  due  the  clearness,  exactness  and  dignity, 
which  distinguish  Egyptian  works  cf  art.  They  are  deficient  however  in  that 
warm  spirit  which  animates  Grecian  art,  and  are  in  consequence  cold  and  stiff. 
Owing  to  the  scarcity  of  timber,  all  the  great  enclusures  of  temples,  palaces, 
and  domestic  structures  generally  were  built  in  unbumt  brick,  a  material  which 
necessitated  a  much  greater  thickness  for  the  lower  part  of  the  wall  at  the  base, 
and  this  type  of  construction  would  appear  to  have  been  the  model  on  which 
all  the  great  monuments  in  stone  were  based,  thus  accounting  for  the  raking 
walls  given  to  the  pylcns  and  temples 

Apart  from  a  pure  geometrical  setting-out,  Egyptian  ornament  consists  of  a 
rigidly  systematic  arrangement  of  plants  native  to  the  country.  The  well-known 
Egyptologist,  Louis  Borchardt,  has  arranged  a  clear  classification  of  Egyptian 
plant-ornamentation,  and  the  complete  plants  used  as  models  being  arranged  by 
him  as  follows: 

1.  The  Lotus-flower,  Nymphaea  Lotus  L,  Nymphaea  Cerula  L.,  and  Nym- 
phaea  Nelumbo  L. 

2.  The  Lily,  the  botanical  name  of  which  has  not  yet  been  fixed. 

3.  The  Papyrus  flower,  Cyperus  papyrus  L. 

4.  The  Date-palm,  Phoenix  dactylifera  L 

5.  Reeds  and  a  kind  of  Withe*  were  also  cften  employed  as  can  be 
seen  from  certain  fragments  discovered  in  the  excavations. 

The  lotus  and  papyrus  flowers  were,  however,  used  the  most  often  by  the 
Ancient  Egyptians  in  the  ornamentation  of  all  kinds  of  work,  from  the  most 
colossal  Egyptian  columns  down  to  the  smallest  objects.  Borchardt  denies  that 
there  is  any  constructive  importance  to  be  attached  to  the  Egyptian  plant-column. 
To  the  ancient  Egyptians,  the  temple  meant  the  world,  the  ceiling  was  the  heavens, 
under  which  the  columns,   made  to  represent  plants,  rose  up  from  a  mound  of 


*  Probably  the  leaf  of  the  maize  or  Indian  corn. 


14  EGYPTIAN  ORNAMENT. 

earth.  That  the  imitation  of  a  plant  was  used  as  a  support  for  the  ceiling  is 
an  idea  which  cannot  be  accepted.  As,  however,  supports  for  carrying  the  ceiling 
were  necessary,  there  was  placed,  as  connecting  link  between  the  supports  and 
the  burden,  an  abacus,  which  on  account  of  the  strong  swell  of  the  capital, 
was  invisible  from  below.  In  this  way,  the  idea  of  having  again  flowers  under 
the  open  skies  was  realised.  It  is  therefore,  according  to  this,  evident  that  the 
ornament  was  used  as  a  support  and  not  that  the  support  was  ornamented. 

The  principal  featuies  characterising  the  manner  in  which  Egyptian  artists 
wished  to  represent  the  lotus  flower  were,  first,  the  elliptical  form  of  the  buds 
with  stalks,  then  the  calyx  of  the  flowers  rounded  off  above,  and  the  intermediate 
petals  rounded  off  in  a  similar  manner.  The  lotus-flowers  have  no  foot-leaves, 
these  being  peculiar  to  the  papyrus-shaped  columns  only.  There  are  closed  and 
opened  lotus  and  papyrus  columns,  as  well  as  simple  and  compound  ones. 

Although  stone  is  the  material  which  predominates,  columns  and  vessels  in 
wood  have  also  been  discovered.  Casting  in  metal,  clay  and  even  glass-blowing, 
were  known  to  the  ancient  Egyptians,  and  they  were  adepts  in  the  textile  industry. 
In  the  ornamentation  of  Egyptian  buildings,  more  especially  in  temples  and  tombs, 
painting  was  the  predominant  characteristic. 


Plate  4. 

Border:  Column  with  closed  lotus  capital  from  a  mural  painting  found  in  the  tomb 
of  the  Kej  of  Bersche.    It  dates  from  the  Middle  Egyptian  Kingdom  (Borchardt). 

Fig.  1.  Column  with  closed  lotus  capital  from  the  Middle  Kingdom,  found  in  Beni- 
hasan.  Horizontal  section  is  also  given.  (Lepsius,  Tagebuch.)  Like  all  lotus 
columns,  this  one  has  neither  foliage  nor  entasis.  From  the  stone  base,  on  which 
the  column  is  raised,  rise  4  main  stalks.  These,  and  the  4  intermediate  stalks,  are 
held  together  by  means  of  5  chaplets.  The  capital  is  made  up  of  4  lotus-buds  with 
longitudinal  convex  bands.    The  abacus  is  small  and  square. 

„  2.  Closed  lotus  capital  dating  from  the  Ancient  Egyptian  Kingdom,  found  by 
de  Morgan  in  the  tomb  of  the  Ptah-schep-ses  near  Aboukir.  Horizontal 
section  of  the  column  is  also  given.  (Revue  arch.  1894.)  The  column  consists 
of  6  principal  and  6  intermediate  stalks,  held  together  by  5  neck-bands.  The  ca- 
pital consists  of  very  sharp-pointed  buds.  The  intermediate  stalks  end  above  in  open 
lotus-flowers.    The  whole  colutnn  is  painted  over  in  a  naturalistic  manner. 

„  3.  Closed  lotus  capital  from  the  Ptolemaic  epoch,  taken  from  the  temple  of 
Isis-us-ret  in  Philae  (Borchardt).  Columns  with  closed  lotus  capitals  did  not  exist 
in  the  Modern  Kingdom.  This  kind  of  capital,  like  all  capitals  from  the  time  of 
the  Ptolemies,  was  peculiar  in  the  fact  that  the  stalks  were  allowed  to  appear  below 
the  bands  of  the  necking.  In  this  example,  furthermore,  the  triple  intermediate  stalks 
do  not  rest  between  the  main  stalks.  The  shaft  is  smooth  and  completely  covered 
with  hieroglyphics. 


Plate  4. 


EGYPTIAN  ORNAMENT. 


15 


16 


EGYPTIAN  ORNAMENT. 


Plate  5. 


EGYPTIAN  ORNAMENT.  I7 

Fig.  4.  Open  lotus  capital  in  Edfu,  dating  from  the  time  of  the  Ptolemies  (Prisse, 
Histoire  de  I'art  egyptien).  This  capital  consists  of  4  large  lotus-flowers  standing 
close  to  each  other.  Between  each  pair  of  these  flowers  are  3  others— one  large 
and  2  small  ones — which  rise  from  small  intermediate  posts,  and  between  these 
16  flowers  are  16  other  extremely  small  ones.  Open  lotus  capitals  of  columns 
dating  from  the  Ancient  Kingdom  have  not  yet  been  discovered  in  a  perfect  condition. 

„  5,  and  6.  Open  lotus  capitals  decorating  piers  from  the  Ancient  Kingdom,  found 
in  the  tombs  1  and  2  of  the  Hepi  in  Sawijet  el  Meitni  (Borchardt). 

„  7.  Symbol  of  the  union  of  Upper  and  Lower  Egypt  from  the  throne  of  a  Cephren 
statue  in  Gizeh  (Borchardt).  The  symbol  of  Upper  Egypt  was  the  lily,  the  botanical 
name  of  which  cannot,  however,  be  even  yet  fixed,  and  the  Symbol  of  Lower  Egypt 
the  papyrus. 

„  8.  Thothmes  pillar  of  granite  dating  from  the  New  Kingdom,  found  in  the  sanc- 
tuary in  Karnak  (Lepsius,  Tagebuch). 

„     9.    Open  papyrus  capital  in  Philae  dating  from  the  time  of  the  Ptolemies  (Prisse). 

„  10.  Papyrus  ornament  from  a  mural  fresco  found  in  a  tomb  in  Beni-Hasan 
(Prisse). 

„    11.     Osiride  pillar  from  Medinet  Hab0  (Perrot  and  Chipiez,  History  of  Art). 


Plate  5. 

Border:  Papyrus  column  with  closed  capital  from  a  mural  fresco  found  in  the  tomb 
of  Kha'-em-het  at  Gurna.    This    example  dates  from  the  Later  Egyptian  King- 
dom (Borchardt). 
Fig.   1.    Papyrus  column  with  closed  capital  in  front  of  the  pyramid  of  Amenemhet 
near  Hawara.    This  column  dates  from  the  Middle  Kingdom  (Prisse).     From 
the  stone  base  on  which    the  column  rests,  spring  8  stalks  arranged  in  regular 
order.    The  horizontal  section  of  the  column  given  in  the  same  figure  will  make 
this  clear.    As  is  the  case  with  all  papyrus  columns,  there  are,  at  the  foot  of  the 
stalk,  sheathing  leaves  which  enclose  the  lower  portion  of  the  column.   Under  the 
capital,  the  stalks  narrow  off,  and  are  bound  together  by  5  fillets.    Over  these  fillets, 
8  closed  buds,  each  with  a  head-foil,  develop  themselves.    The  section  of  the  buds 
and  stalks  is  triangular.   Under  the  neck-band  are  8  clusters  each  having  3  stalks. 
These  capitals,  however,  gradually  lost  their  characteristic  form,  until  finally,  they 
became  completely  changed  as  in  fig.  8. 

„     2.    Palm-leaf   capital   of  a  column   at   Philae   dating  from  the   later  Egyptian 
Kingdom  (Prisse).    Here,  also  a  space  exists  between  the  capital  and  the  neck-band. 

„     3.    Capital  in  the  Palace  of  Thothmes,  1541—1516  B.C.  in  Karnac  (Lepsius). 

„     4.    Palm-leaf  capital  of  a  column  in  Bersche  dating  from  the  Middle  Kingdom 
(Borchardt). 

„     5.    Papyrus  column  with  open  Flower  capital  from  the  granite  pilasters  in  front 
of  the  Sanctuary  in  Karnac  (Lepsius). 

„     6.    Open  papyrus  flower  capital    at  Karnac,  dating  from  the  Middle  Kingdom 
(Prisse).    Pictures  and  inscriptions  are  worked  in  between  the  painted  flower  stalks. 

„     7.    Clay  mould  with  lily  from  Tell-el-Amarna  dating  from  the  Middle  Kingdom 
(Petrie,  Tell-el-Amarna). 

SPELTZ,  styles  of  Ornament.  2 


18 


EGYPTIAN  ORNAMENT. 


Plate  6. 


EGYPTIAN  ORNAMENT.  19 

Fig.   8.    Turned  papyrus-capital   of  a  column  with  closed  flower,  at  Karnac,  dating 

from  the  later  Egyptian  Kingdom  (Prisse). 
„     9.    Decoration  of  a  figured  dish  in  the  British  Museum  (Borchardt). 
„    10.    Figured  frieze — flowers  and  buds  from  the  same  plant — from  the  palace  of 

Amenophis'  IV.  in  Tell-el-Amarna  (Borchardt). 
„    11.    Papyrus  ornament  on  a  figured  dish  in  the  British  Museum  (Borchardt). 
„    12.    Papyrus  thicket  from  the  mural  fresco  of  a  tomb  in  Benihasan,  dating  from 

the  Middle  Kingdom  (Borchardt). 
„    13.    Withe  from  a  painted  wreath  of  a  coffin,  dating  from  the  Middle  Kingdom. 
„    14.    Palm-shaped  column  in  process  of  manufacture  from  a  mural  fresco  at  Gurna; 

dating  from  the  Middle  Kingdom. 


Plate  6. 

Border:  Closed  lotus  capital  from  a  mural  fresco  (Borchardt). 
Fig.  1  to  7.    Egyptian  mural  fresco  (Uhde). 

8.  Woven  work  sandals  (Prisse,  Hist,  de  I'art  egypt.). 

9,  and  11.    Sphinx  in  red  granite  in  the  museum  of  the  Vatican  (Talham,  Anc. 
Ornam.  Arch,  in  Rome). 

10.  Scent-spoon  from  collection  in  the  Louvre  (Perrot  and  Chipiez). 

12.  Egyptian  dagger  (Perrot  and  Chipiez). 

13.  Leather  sandals  (Perrot  and  Chipiez). 

14.  Egyptian  bronze  knife  (Perrot  and  Chipiez). 

15.  and  18.     Egyptian  lions  in  green  basalt  before  the  Capitol  in  Rome  (Tatham 
Anc.  Ornam.  Arch,  in  Rome). 

16.  and  17.    Egyptian  heads  in  relief  dating  from  the  Later  Kingdom  (LUbke). 

19.  Egyptian  sewing-needles  (Perrot  and  Chipiez). 

20,  and  21.    Old-Egyptian  wooden  chairs  (Koeppen  und  Breuer,  Geschichte  d.  Mobels). 
22,  23,  and  24.    Egyptian  furniture  (Canina,  arch.  ant.). 


Plate  7. 

Border:  Columns  with  open  lotus-capital  from  a  painted  canopy  in  a  tomb  at  Gurna, 

dating  from  the  Middle  Kingdom  (Borchardt). 
Fig.   1.     Painted  bouquet-column  in  the  tomb  of  Sennundem.  Dates  from  the  Egyptian 
Middle  Kingdom  (Berhn  Museum,  Ph.  664). 
„     2.    Breast-plate  of  gold  with  incrusted  enamel  bearing  the  name  of  Rameses  II. 

(Perrot  and  Chipiez). 
„     3.    Head  of  Nofret  (Lubke). 
„     4.    Egyptian  clay  jar  (Libonis,  Les  styles). 
„     5.    Egyptian  amphora  (Libonis). 

2* 


20 


EGYPTIAN  ORNAMENT. 


Plate  7. 


EGYPTIAN  ORNAMENT. 


21 


Fig.  6.  Rhyton,  an  Egyptian  musical  instrument  (Libonis). 

7.  Ceiling  ornamentation  from  Memphis  and  Thebes  (Prisse). 

8.  Winged  sun,  the  symbol  of  royal  dignity  dating  from  the  Ancient  Kingdom 
of  the  Egyptians. 

9.  Gold  necklace  (Libonis). 

10.  Girl  with  guitar  from  a  mural  painting  in  Thebes  (Perrot  and  Chipiez). 

11.  Ornament  (Libonis). 

12.  Ring  of  Rameses  II.  (Perrot  and  Chipiez). 

13.  Transporting  a  mummy,  from  a  mural  painting. 

14.  Harness  (Prisse). 

15.  Engraved  ring  in  the  Louvre,  Paris  (Perrot  and  Chipiez). 

16.  Egyptian  doors  of  wood  (Prisse). 

17.  Bracelet  of  Prince  Psat,  dating  from  the  New  Egyptian  Kingdom. 


Building  a  temple,  from  a  mural  painting  found  in  a  grave 
at  Abd-el-Gurna  (Liibke). 


BABYLONIAN -ASSYRIAN  ORNAMENT. 


long  the  banks  of  the  Euphrates  and  Tigris, 
in  the  sacred  land  of  Mesopotamia,  and 
under  the  special  influence  of  these  two 
streams,  a  characteristic  civilisation  deve- 
loped itself  more  than  5000  years  ago — 
much  the  same  as  the  civilisation  which  was 
developed  in  Egypt  under  the  influence  of 
the  Nile.  The  results  of  the  latest  exca- 
vations in  Tello,  Niniveh,  Nimroud,  Koyunjik, 
Khorsabad,  and  other  places,  have  afforded 
proofs  of  the  existence,  even  as  far  back  as 
4000  B.  C.  of  the  Sumerians,  a  non-Semitic 
people  who  became  afterwards  united  with 
the  Assyrians.  It  may  therefore  be  accepted 
as  certain,  that  in  this  river  valley  a  civili- 
sation existed  which  was  older  than  that  of 
Egypt-  The  language  cf  the  Sumerians  long  after  it  ceased  to  exist  as  a  living 
tongue  was  spoken  as  a  dead  language  by  scholars.  The  Bible  itself  mentions 
the  colossal  buildings  erected  by  the  Babylonian  and  Assyrian  kings  at  that 
remote  period.  In  this  particular  country,  there  was  such  a  mixture  of  peoples, 
one  alternately  subjugated  by  another,  that  the  art  of  the  epoch  must  be  regarded 
as  one  common  to  the  people  as  a  whole.  The  people  themselves  appear  to 
have  been  more  of  a  sensible  and  practical,  rather  than  of  a  peotic  turn  of  mind- 
They  were  at  once  commercial  as  well  as  warlike,  keeping  material  gain  and 
their  own  supremacy  above  all  other  matters. 


Stone  imbossed  work,  representing 
the   surrender    of   Lachis    to    Sen- 
nacherib (Roger-Miles). 


BABYLONIAN-ASSYRIAN  ORNAMENT.  23 

In  the  third  thousand  before  Christ  a  number  of  small  principalities  .  .  . 
such  as  Shirpula,  Ur  of  the  Chaldees,  Isin,  Larsa,  etc.  .  .  .  existed  in  South 
Babylonia,  but  were  finally  conquered  by  Khammunrabi,  king  of  North  Babylonia 
in  the  year  2232  B.  C.  After  this  conquest  the  city  of  Babylonia  was  made  the 
capital.  The  kingdom  of  the  Semitic  Assyrians  was  founded  and  began  about 
the  year  2000  B.  C,  developing  into  a  powerful  state  about  1300  B.  C,  the 
principal  cities  being  Ashur  and  Nineveh.  This  kingdom  reached  its  highest  glory 
in  the  reigns  of  Assurnasipal  (884—860  B.  C),  Shalmaneser  II.  (860—824  B.  C), 
Sargonll.  (722—705  B.C.),  Sennachirib  (705—681  B.C.),  Esarhaddon (681—668), 
and  Ashur-bani-pal  (Sardanapalus)  (668 — 626).  Under  this  latter  monarch  Assyria 
became  the  principal  world-power,  being  however  deprived  of  this  supremacy  by 
Nabcpolassar  of  Babylonia  and  Cyaxaras  of  Media  in  the  year  603  B.  C.  The 
new  kingdom  now  established  flourished  for  a  short  time,  605  to  561  B.  C. 
under  Nebuchadnezzar,  being  itself  finally  conquered  by  Cyrus  King  of  Persia 
in  this  year  538  B.  C. 

While  structures  built  of  stone  predominated  in  Egypt,  in  these  districts  on 
the  Tigris  and  Euphrates  the  buildings  were  almost  always  constructed  of  air- 
dried  bricks,  which  accounts  for  the  fact  that  so  few  of  them  have  remained 
intact.  Walls  made  of  these  unburnt  bricks  were  first  coated  with  stone  slabs, 
plaster,  or  asphalt,  and  then  covered  with  mosaic-work  formed  of  glazed  pieces 
of  terra-cotta.  Most  of  the  discoveries,  therefore,  made  in  this  region,  consist  of 
these  fragments  of  glazed  terra-cotta,  in  which  work  these  people  excelled. 

The  specimens  of  sculpture  which  have  come  down  to  us  are  mostly  all  in 
relief,  few  of  them  being  in  cavo-relievo. 

Many  of  the  art  objects  discovered  in  recent  excavations  show  Egyptian 
influence,  but  there  is  no  proof  of  any  kind  at  hand  pointing  to  the  supposition 
that  such  objects  were  brought  into  Assyria  by  Egyptian  traders.  As  in  Egypt,  so 
here  also  the  lotus-flower  played  a  very  important  role  in  ornamentation. 

There  must  be  a  distinction  made  between  a  specific  Babylonian  period  and 
a  specific  Assyrian  period,  the  ruins  of  which  were  discovered  at  different  levels 
in  the  excavations  in  Nimroud,  Khorsabad,  Nmeveh,  and  Koyunjik. 

It  must  be  regarded  as  certain,  that,  next  to  the  Egyptian,  Babylonian-Assyrian 
art  exercised  a  very  great  influence,  on  the  one  side,  towards  the  East  and 
North,  that  is,  India,  China  and  Persia,  and  on  the  other  side,  towards  the  West, 
especially  in  the  Mediterranean  islands. 


24 


BABYLONIAN-ASSYRIAN  ORNAMENT. 


Plate  8. 


Ifftgw^ggtsaw  gBiMJuiiiwiaf^  n 


lJ.;J^..*^^«-5ii*-3>^^^ 


s,;v^v,.je»  -=-  ass5£:i.*«-^  ■ 


.irf3 


•  •  •  tei^ 


i(- 


^Ui 


"  —    '  '- ''■'  — ^-U.  ■  -  .It; 


BABYLONIAN-ASSYRIAN  ORNAMENT.  25 

Plate  8. 

Fig.  1.  Assyrian  relief  in  alabaster  from  Nineveh,  taken  from  the  palace  of  King 
Ashurbanipal  (668—626  B.  C),  after  a  photograph  from  the  English  excavations. 
What  is  very  remarkable  in  this  example  is  the  extremely  soft  outlines  of  the  lioness 
as  she  lies  stretched  at  the  feet  of  the  lion;  the  lithe  grace  and  lissomness  of  her 
body  are  in  fine  contrast  with  the  strongly- marked,  swelling,  and  powerful  muscles. 

,,     2.     Bas-relief  showing  a  wounded  lion  (Libonis).    In  the  British  Museum. 

„  3,  4,  and  7.  Capital  in  ivory  from  the  ruins  of  Nineveh.  In  the  British  Museum. 
(Dieulafoy,  I'Art  antique). 

„     5.    Window  with  balustrade  under  cill,  from  the  ruins  of  Nineveh  (Dieulafoy). 

,,  6,  and  8.  Relief  in  ivory  from  the  ruins  of  Nineveh  (Dieulafoy).  In  the  British 
Museum. 

„     9.     Capital  of  Baluster. 

„    10.     Assyrian  bowl  (Semper,  Der  Stil). 

„   11.    The  Assyrian  winged-globe  (Perrot). 

„   12.    The  Assyrian  mysterious  tree  (Perrot). 

„    13.    Siren  (Babelon,  Archeologie). 

„    14.    Assyrian  pedestal  (Dieulafoy). 

,,    15.    Vessel  resembling  a  basket  in  the  hand  of  a  sacrificer  (Semper). 

„  16.  The  Babylonian  lion.  Bas-relief  made  of  glazed  bricks  from  the  temple  of 
Ninmach  (Gurlitt).  The  Babylonian  lion  was  white  with  a  yellow  mane,  or  yellow 
with  a  green  mane,  the  background  being  light  blue. 


Plate  9. 

Fig.  1.  Floor  ornament  from  Koyunjik  (Liibke,  Kunst  des  Altertums).  The  motif  in  this 
ornament  appears  to  have  been  copied  from  a  very  ancient  piece  of  textil-work, 
which,  notwithstanding  its  antiquity,  shows  highly-developed  artistic  workmanship. 

„  2.  Capital  or  base  of  column  at  Khorsabad  (Uhde,  Architekturiormen  des  klas- 
sischen  Altertums). 

„     3.    Mural  decoration  made  of  burned,  glazed  stone,  from  Nimroud  (Uhde). 

„  4.  Assyrian  relief  in  alabaster,  showing  King  Ashurbanipal  (688—626  B.  C.) 
hunting.    Taken  from  a  photograph  at  the  English  excavations  in  Nineveh. 

„     5.    Assyrian  wall  decoration  made  of  enamelled  slabs  (Liibke). 

„     6.     From  an  Assyrian  embroidery  (Perrot  and  Chipiez). 

„     7.    Bronze  fragments  of  chairs  found  in  Nimroud  (Uhde). 

„  8.  Ornamentation  on  glazed,  coloured  bricks  from  the  wall  of  a  court  in  the 
palace  of  King  Nebuchadnezar  at  Babylon.  From  a  photograph  taken  in  the 
recent  German  excavations  in  Babylon. 

„     9.     Assyrian  standards  (Libonis). 

„    10.    Arched  portal  from  Koyunjik  (Lubke). 

„    11.     Horse  bridle  (Brockhaus). 

„    12.    Bronze  lion  from  the  palace  of  Sardanapalus  (Libonis). 

„    13.    Winged  steer  with  human  head,  in  the  Louvre,  Paris  (Libonis). 


26 


BABYLONIAN-ASSYRIAN  ORNAMENT. 


Plate  9. 


^.,-,';:n:j,.  .i^.._^    i^ti; .i;^_^  ;l Mii\..  i^-^t:in 


P|g|Pll)f^»|^|^,, 


10. 


^wm;^mi~^^ 


(^-V;  ,£;..;:  .V-;  ;v  ,-;  '■; 


^ 


Plate  10. 


BABYLONIAN-ASSYRIAN-ORNAMENT. 


27 


28 


BABYL0N1AN-ASS\T?1AN  ORNAMENT. 


Border 

Fig 

1. 

2. 

3. 

4. 

5. 

6. 

7. 

8. 

9, 

12. 

13. 

16, 

17. 

19. 

20. 

21. 

22. 

24. 

25. 

26. 

27. 

28. 

Plate  10. 

:  Flag-post  on  palaces  (Uhde). 

Ancient  Babylonian  female  head   in  Diorite.    A  genuine  original  is  preserved 

in  the  Berlin  A\useum.    A  similar  head  was  discovered  in  the  excavations  carried 

out  by  the  French  in  Tello  (South-Babylonia). 

Assyrian  Chair  (Perrot). 

Bronze  tripod  in  the  Louvre  (Perrot). 

Carriage-pole  (Perrot). 

Bronze  sword  (Perrot). 

Footstool  (Perrot). 

Beaker  (Perrot). 

Bracelet  (Perrot). 
10,  and  11.    Ear-rings  (Perrot). 

Metal  bucket  (Perrot). 
14.  and  15.    Amphorae  of  clay  (Perrot). 
and  18.     Goblets  (Semper). 

Bronze  fragment  from  a  chair  of  state  (Babelon). 

Washhand  stand  (Semper). 

Dish  (SemperV 

Metal  bucket  (Semper), 
and  23.     Fork  and  spoon  (Smith,  Assyrian  Discoveris). 

Gold  buttons,  in  the  British  Museum  (Perrot). 

Harness  (Perrot). 

Gold  ear-ring  (Perrot). 

Embroidered  breast-piece  (Layard,  Monuments). 

Royal  necklet  of  gold  (Perrot). 


Assyrian  fighting  car  (L'Art  pour  tous). 


PERSIAN  ORNAMENT. 


lisunion  and  a  continual  state  of  unrest  were 
the  conditions  permanent  in  the  south- 
western part  of  Asia  in  ancient  times.  The 
supremacy  was  ever  changing  and  never 
fixed,  and,  as  a  consequence,  the  peoples 
who  inhabited  it  were  not  in  a  position  to 
develop  any  independent  art  distinct  from 
each  other.  The  conquerors  or  the  con- 
quered were  always  naturally  influenced 
by  the  more  advanced  section  of  those  with 
whom  they  were  brought  into  contact.  For 
these  reasons,  it  is  clear  that  Persian  orna- 
ment can  show  but  very  little  characteristic 
peculiarities,  Egyptian,  Assyrian  and  Helle- 
nic influences  being  all  plainly  discernable. 
The   beautiful   buildings  of  the  Persian  kings  were  erected  by  artists  who 

were  made  prisoners  in  the  wars  in  Babylonia,  Egypt,  and  in  the  Grecian  colonies 

in  Asia  Minor. 

The  first  beginnings  in  Persian  art  were  very  probably  made  by  the  Medes, 

a  people  who  conquered  the  kingdom  of  the  Elamites  with  its  capital  city  Susa 


Imbossed  work,  representing  the  king 
Xerxes  upon   the  throne  (Roger-Miles). 


30 


PERSIAN  ORNAMENT. 


Plate  11. 


njTijiriiTUT\iTijTLj) 


•)  €>  (&'  @  ©  ®  ®  Q  ©""^^ 


PERSIAN  ORNAMENT.  31 

in  the  7***  century  B.  C.  an  then  founded  a  powerful  state  making  Egbatana  the 
capital,  but  who  were,  later  on  themselves  subjugated  in  the  year  550  B.  C.  by 
the  Persians  under  Cyrus.  No  remains,  however,  of  a  special  Median  art  have 
ever  been  discovered.  Persia  developed  into  the  most  powerful  empire  in  the 
world  under  the  reigns  of  Cyrus  (559 — 529),  Cambyses  (529 — 522),  Darius 
521 — 485),  and  Xerxes  (485 — 465  B.  C),  but  was  in  its  turn  conquered  by 
Alexander  the  Great  in  the  year  330  B.  C.  From  the  years  312  to  284  B.  C. 
it  was  under  the  sway  of  the  Seleucidae,  from  284  B.  C.  to  284  A.  D.  it  was 
subject  to  the  Parthians,  and  from  284  A.  D.  to  641  A.  D.  to  the  Sassanians. 
Under  the  sway  of  the  latter  a  new  Persian  Empire  was  established  which 
flourished  until  it  finally  became  subject  to  Islamite  supremacy.  The  Islamites 
when  in  decided  power  changed  entirelv  the  character  of  Art  then  flourishing, 
giving  it  an  entirely  new  direction  an  turning  it  on  to  entirely  different  lines 
from  those  along  which  it  had  hitherto  moved.  Persian  art,  which  continued  to 
develop  for  about  two  centuries,  is  the  last  echo  of  the  art  of  the  Mesopotamian 
lands.  With  the  destruction  of  the  Persian  Empire  by  Alexander  the  Great, 
Hellenic  art,  already  flourishing  at  that  period,  won  the  upper  hand  throughout 
the  East 


Plate  11. 

Fig.  1.    Lion  frieze  in  the  Louvre  (Dieulafoy). 
„     2.    Lion  and  griffin  frieze  (Dieulafoy). 
„     3,  4,  and  11.    Columns  from  Persepolis  (Uhde). 
„     5,  and  7.    Column  in  the  hall  of  Xerxes  in  Persepolis  (Uhde). 
„     6.    Detail  from  the  tomb  of  King  Achemenides  in  the  necropolis  of  Takhte- 

Djemschid  (Dieulafoy). 
„     8.    Floor  of  stairs  in  the  palace  of  Artaxerxes  (Libonis). 
„     9.    Frieze,  a  winged  steer  (Libonis). 
„    10.    Relief  at  Persepolis  (LUbke). 
„   11,  and  12.    Persian  bases  (Dieulafoy). 


Plate  12. 

Fig.   1,  and  2.    Persian  Wall  decoration  of  glazed  terra-cotta  (Libonis). 
„     3.    Head  of  a  steer  in  the  Louvre  (Perrot  and  Chipiez). 
„     4,  5,  and  6.    Persian  pottery  (Perrot  and  Chipiez). 
„     7.    From  a  bas-relief  in  the  hall  of  the  100  columns,  Persepolis  (Flandin  et  Coste, 

Perse  ancienne). 
„     8.    Persian  silver  coin  (Perrot  and  Chipiez). 
„     9.    Bas-relief  at  Persepolis. 
„   10.    Head-dress  of  Cyrus  (Dieulafoy). 


32 


PERSIAN  ORNAMENT. 


Plate  12. 


V'i^V^i  MM;'^'"^J  V^^'^^ 


_Mi_. 


\^^^ ':::.' 


PERSIAN  ORNAMENT. 


33 


Fig.  11,  and  12.    Fragment  of  an  enamel  bas-relief  from  Susa  (Dieulafoy). 
„     13,  and  14.     Bas-reliefs  from  the  graves  of  Naksche  Roustem  (Dieulafoy). 
„     15.    Mosaic  from  the  floor  of  stairs  in  the  palace  of  Artaxerxes  (Libonis). 
„     16,  and  17.    Utensils  in  chased   silver.     Dating  from  the  Sassanian  period.    In  the 
Paris  Medaillon-Cabinet  (Havard,  Histoire  de  I'orfevrerie  Fran^aise). 


mm 


mmmKfm 


Curtain  over  the  throne  of  Achemenides  (Dieulafoy). 


SPELTZ,  Styles  of  Ornament. 


PHOENICIAN-HEBRAIC  ORNAMENT. 


n  Phoenicia  lived  a  distinctly  commercial  people,  full  of 
the  spirit  of  trade,  thinking  of  nothing  but  gain  and 
commerce  and  keeping  their  commercial  interests  always 
above  other  interests  of  any  kind  whatever.  In  the 
second  thousand  before  Christ  they  were  already  settled 
on  the  coast  of  Syria,  had  trading-stations  and  colonies 
in  Greece,  Italy,  Gaul,  Hispania,  and  Africa,  and  in 
their  intercourse  with  the  various  peoples  with  whom 
they  traded  paid  attention  only  to  such  matters  as  were 
best  likely  to  forward  their  own  commercial  interests. 
To  this  commercial  spirit  is  due  the  fact  that  there  is 
no  strictly  Phoenician  art.  In  the  Phoenician  Ornament 
evidences  of  all  kinds  of  decoration  can  be  recognised, 
Egyptian-Assyrian  influence  being  specially  predominant 
The  most  characteristic  examples  of  Phoenician  art 
which  have  come  down  to  us  are  their  jewels.  These 
imply  that  the  Phoenicians  lived  in  a  high  state  of 
luxury,  and  prove  also  that  they  had  reached  a  high  state  of  development  in  the 
art  of  working  in  gold.  The  Hebrews  in  Palestine  were  entirely  dependent  on 
the  Phoenicians  for  their  technics  and  their  art.  The  Mosaic  law  forbidding 
pictures  and  images  prevented  the  free  development  of  art  amongst  the  Jews. 
In  the  reigns  of  David  and  Solomon,  that  is,  about  the  year  1000  B.  C,  Hebrew 
Art  was  in  its  highest  glory,  and  remained  so  until  the  destruction  of  Jerusalem 
by  Nebuchadnezar  in  the  year  586  B.  C.  The  principal  buildings  of  King  Solo- 
mon's palace,  and  of  the  Temple,  were  however  the  work  of  Phoenician  artists 
and  artisans.  Numerous  tombs  cut  into  rocks  at  this  time  and  characteristic 
of  this  period  are  still  preserved.     In  North  Syria   along  the  Upper  Euphrates 


A  Phoenician  in  the  time 
of  King  Thoutmes  III 

(Roger-Miles). 


Plate  13. 


PHOENICIAN-HEBRAIC  ORNAMENT. 


35 


36 


PHOENICIAN-HEBRAIC  ORNAMENT. 


and  in  Cappadocia  lived  a  people  called  the  Hittites  who  were  neither  of  Aryan 
or  Hebrew  stock.  They  were  settled  here  since  the  year  1500  B.  C,  and,  from 
1 1 30  B.  C.  were  continuously  attacked  by  the  Assyrians,  being  finally  conquered 
and  destroyed  by  Sargon  in  the  8*^  century  B.  C.  These  people  had  a  special, 
characteristic  style  of  their  own,  a  style,  however,  which  shows  traces  of  Egyptian 
and  Assyrian  influence.  The  Art  of  the  Hittites,  however,  on  the  other  hand  played 
an  important  part  in  and  powerfully  influenced  the  development  of  Persian  art. 
Only  very  few  remains  of  this  civilisation  are  now  in  existence. 

With  regard  to  the  other  races  who  also  lived  in  Asia  Minor,  it  may  be 
remarked  that,  the  remains  which  have  come  down  to  us  from  these  peoples  are 
so  few  that  it  is  no  possible  to  deduce  from  them  any  distinct,  characteristic  style. 


Fig. 


7. 

8. 

10. 

14. 

15, 

19. 

20. 

21. 

22. 

Plate  13. 

1.  Frieze  hewn  in  stone  (Renan  Mission,  Libonis). 

2.  Capital  found  in  Cyprus  (Vogue  Mission). 

3.  and  4.    Phoenician  capitals  (Libonis). 

5,  13,  and  18.    Phoenician  jewels  (Libonis). 

6,  9,  11,  and  12.    Phoenician  vases  from  Dali  (Labke). 
Vase  from  Larnaka  (Liibke). 
Glass  vase  from  Jerusalem  (Libonis). 
Pigmy  in  burnt  clay,  in  the  Louvre  (Libonis). 
Head  of  a  sarcophagus  in  clay  from  Carthage  (Libonis). 

16,  and  17.    Phoenician  vases  from  Alhambra  (Labke). 
Phoenician  glass  vases  (Libonis). 
Phoenician  altar  (Cippe),  (Libonis). 
Silver  dish  from  Curium  in  Cyprus  (Graul,  Bilderatlas). 
Coffin  plate  (Libonis). 


Painting  from  an  old  Cyprian  clay  vessel  representing 
tree  adoration  (Seesselberg,  Fruhmittelalterliche  Kunst). 


INDIAN  ORNAMENT. 


Bas-relief  from  Ellora. 


t  is  generally  believed  that  Indian  civilisation  dates 
back  to  a  very  remote  period,  it  was  not, 
however,  till  about  the  year  2000  B.C.  that 
the  Aryans  who  had  emigrated  from  Central 
Asia  settled  in  the  South  of  India  and  reached 
the  plenitude  of  their  power.  The  archaeo- 
logical discoveries  made  in  India  reach  no  further 
back  than  a  few  centuries  before  Christ.  A 
close  observation  of  Old-Indian  ornaments  shows 
us  that  Indian  art  was  by  no  means  free  of 
foreign  influences,  more  especially  Persian,  and 
later  on,  Greek.  India  is  but  a  purely  geographical  expression,  and  has  no 
ethnographical  signification  whatever.  It  is  inhabited  by  races  of  people  so  dif- 
ferent and  distinct  from  each  other  that  to  class  them  together  as  the  Indian 
race  would  be  incorrect.  To  speak  of  a  homogeneous  Indian  art  is  therefore 
impossible,  the  more  so,  as  each  race  which  inhabited  the  country  had  its  own 
art  history. 

The  general  history  of  Indian  art  may  be  divided  into  the  following  periods: 

1.  The  Vedi-Brahman  era  extending  up  to  the  middle  of  the  3'"''  century 
B.  C.     There  is  perhaps  no  monument  from  this  period  in  existence. 

2.  The  Buddhist  era  which  extends  to  the  7*''  century  A.  D.,  and  began  when 
Buddhism  was  raised  to  be  the  established  state  religion  by  King  Asoka  in  the 
year  256  B.  C. 

3.  The  New-Brahman  Period  which  began  on  the  restoration  of  the  Brahma 
religion  in  the  8*^  century  and  continued  up  into  the  12*'*  century  A.  D.  This 
period  reached  its  highest  glory  between  the  8^^  and  12*^*  centuries  A.  D. 


38 


INDIAN  ORNAMENT. 


Plate  14- 


INDIAN  ORNAMENT.  39 

4.  The  period  of  the  dominion  of  Islam  to  the  present  time. 

The  spread  of  Buddhism  helped  most  materially  in  giving  a  great  impulse 
to  the  development  of  art.  Indeed  the  progress  made  in  art  in  other  countries 
besides  India  has  [always  been  greatly  influenced  by  religious  fanaticism.  The 
style  of  decoration  used  at  this  period,  although  worthy  of  admiration,  was  so 
fantastic  and  bizarre,  that  the  form  was  completely  overspread  and  hidden  by 
the  ornamentation.  The  oldest  monuments  from  this  period  at  present  in  existence 
date  from  the  reign  of  King  Asoka  272—236  B.  C. 

With  the  spread  of  Islam,  Indian  art  took  a  new  direction  based  on  Arabian 
art.  This  part  of  the  subject  will  be  treated  of  later  on  when  dealing  with  the 
art  of  the  Mahommedans. 


Plate  14. 

Fig.   1.    Corner-pillar  of  the  temple  in  Nijamizzur  (Uhde,  Die  Konstruktionen  und  die 

Kunstformen  der  Architektur). 
„     2,  and  3.    Details  from   temple  in  Ahmedabad  (Uhde).     Appears  to  havt  been 

made  after  textile  samples. 
„     4.    Capital  from  the  temple  in  Kumurpal,  Palitana  (Uhde).    This  capital  shows 

clearly  defined  traces  of  Grecian  influence. 
„     5.    Isolated  monolith  column  near  the  temple  at  Peroor  (Uhde).     The  use  of 

metal  in  this  example  strengthens  the  impression  that  the  ornamentation  was  copied 

from  a  textile  sample. 
„     6.    Capital  from  Bharhut  (Lilbke). 
„     7.    Isolated  stone-column  from  the  cave  at  Karli  (Uhde).    Hewn  out  of  the  solid 

rock.    The  lion  signifies  the  victoy  of  Bhuddism. 
„     8.    Pillars  from  the  Chaitya  cave  in  Karli  (Uhde). 

,,     9.    Pilaster,  with  crest,  from  the  temple  in  Bhagovati  (Rajendralala  Mitra). 
„    10.    West  portal  at  Sanchi,  Tope  (Uhde).   This  is  one  of  the  oldest  stone  monuments 

in  India.    It  is  however  an  imitation  of  wooden  architecture. 
„    11.    Iron   memorial   column   commemorating  the   victory   of  Buddhism  (Uhde). 

This  column  dates  from  the  reign  of  King  Asoka  in  the  third  century  B.  C. 
„    12.    Detail  from  the  temple  in  Mukteswara  (Rajendralala  Mitra). 
„    13.    Column  from  the  rock-temple  in  Lauka,  Ellora  (Uhde). 
„    14.    Capital  from  the  Kutub  near  Delhi  (Uhde).  Dates  from  the  later  period  1191—93. 
„    15.    Column  from  the  rock-temple  of  Indra  in  Ellora  (Canina,  architectura  antica). 
„    16.    Column  from  the  Vihara  in  Ajunta  (Uhde). 
„    17,  and   18.    Details  from  the  temple  at  Bailur.    Appears  to  be  copied  from  a 

carpet  pattern. 

Plate  15. 

Fig.  1.    Window    from  the   temple   of  Muktes'wara   (Rajendralala   Mitra.     The   other 
illustrations  in  this  plate  are  all  from  the  same  authority). 
„     2.    Moulding  from  the  temple  of  Bhagovati. 
„     3.    Detail  from  the  tower  of  Bhuvanes'war. 
„     4.    Medaillion  from  the  temple  of  Sdri  Deul. 
„     5.    Moulding  from  the  temple  of  Muktes'wara. 


40 


INDIAN  ORNAMENT. 


Plate  15. 


L        !:lCl,-lll,:^!^'^'^V5r■'•^      -F'  .,-',    •"";■' i^  Kill 


INDIAN  ORNAMENT. 


41 


Fig.  6.  Statue  of  the  province  from  a  niche  in  the  temple  of  Bhuvanes'war. 

„  7.  Relief  from  the  same  temple. 

„  8.  Pillars  from  the  rock-temple  of  Uday-agiri. 

„  9.  Lotus  ornament  from  the  temple  of  Rdjerani. 

„  10.  Relief  from  the  temple  of  Bhuvanes'war. 

„  11.  Base  of  a  pilaster  from  the  great  tower  of  Bhuvanes'war. 

„  12.  Cornice  from  the  temple  in  Pardsurames'vara. 


^ig 

.  1, 

IP 

2. 

ty 

3. 

ff 

5. 

»» 

6. 

i» 

9. 

>) 

10. 

i> 

11. 

t> 

12. 

i» 

13. 

t» 

14. 

11 

15, 

ti 

17. 

ft 

18. 

It 

20. 

ft 

21. 

If 

22. 

f* 

24, 

9> 

25. 

n 

26. 

ft 

28, 

ft 

29, 

f » 

32, 

Plate  16. 

4,  7,  and  8.    Old  Indian  furniture  (Rajendralala  Mitra). 

Ornament  worn  by  females  of  the  middle  class  (Raj.). 

Club  found  in  Bhuvanes'war  (Raj.). 

Bas-relief  from  Bharhut  representing  an  Indian   of  the  2n«'  century   B.  C, 

(Lebon). 

Club  found  in  Puri  (Raj.). 

Flag  found  in  Sanchi  (Raj.). 

Javelin  from  Cunningham's  Bhilsa  Topes  (Raj.). 
19,  and  23.    Tridents  found  in  the  same  place  (Raj.). 

Wooden  jewel-case  found  in  Amravati  (Raj.). 

Wooden  box  found  in  Bhuvanes'war  (Raj.). 

Antique  fan  (Raj.), 
and  16.    Ear  ornaments  (Raj.). 

Four  sided  clay  vessel  (Raj.). 

Urn  for  holy  water  (Raj.). 

Guitar  from  Amravati  (Raj.). 

Metal  shield  found  in  Kondrak  (Raj.). 

Short  club  (Raj.), 
and  27.    Battle  axes  (Raj.). 

Crown  for  a  goddess  (Raj.). 

Gold  bracelet  (Raj.). 
30,  and  31.    Clay  vases  (Raj.), 
and  34.    Samples  of  antique  textiles  (Raj.), 
and  33.     Bow  and  arrow  (Raj.). 


Painting  in  a  grotto  at  Adochantd  (after  Griinwedel). 


42 


INDIAN  ORNAMENT. 


Plate  16. 


GREEK  ORNAMENT. 


Grecian  Women  at  home 

(Gerhardt,  auserlesene  Vasenbilder). 


t  has  been  clearly  and  defini- 
tely proved,  both  from  disco- 
veries made  in  excavations, 
as  well  as  from  certain  signi- 
ficant statements  made  by 
Homer  himself,  that  even  in 
prehistoric  times  several  cen- 
tres of  art  existed  in  Greece 
and  in  the  islands  lying  in  its 
neighbourhood.  These  centres 
were  chiefly  found  in  the  Pelo- 
ponnessus,  in  Attica,  in  Miletus, 
Ephesus,  Chios,  Samos,  and  many  other  islands,  as  well  as  also  in  Southern 
Italy.  The  prehistoric  Greek  Ornament,  which  was  brought  to  light  by  Schliemann 
in  the  excavations  undertaken  by  him  in  Troy,  Mycenae  and  Tiryns,  contains 
so  many  Egyptian  and  Assyrian  motifs  that  no  doubt  can  be  entertained,  that 
Egypt  and  Asia  Minor  exercised  a  most  powerful  influence  on  its  early  be- 
ginnings. That  an  intercourse  existed  between  these  countries  is  beyond  doubt, 
for,  even  in  prehistoric  times,  the  waters  of  the  Mediterranean  were  alive  with 
craft  trading  in  all  directions. 

In  its  primary  stages  of  development,  Greek  art  in  the  islands  of  the  Aegean 
Sea  was  subject  to  Oriental  influences.  The  Greek  style  was  developed  from 
wooden  structures,  the  constructive  forms,  in  many  cases,  changed  into  ornament 
in  the  stone  masonry. 


44 


GREEK  ORNAMENT. 


The  national  character  of  the  Greeks  was  very  different  from  that  of  the 
Egyptians,  the  cold  severity  peculiar  to  Egyptian  art  was  antagonistic  to  the 
sense  of  beauty  characteristic  of  the  Greeks,  and  the  latter,  consequently,  soon 
changed  the  Egyptian  form  into  one  more  genial,  pleasing,  and  agreeable.  Style 
is  after  all  but  the  truthful  expression  of  the  character  and  perceptions  of  a 
people  or  of  an  historical  epoch. 

Greek  art  can  be  divided  into  four  epochs: 

I.  The  Mythical  Period  or  the  Heroic  Epoch  which  continued  up  to  the 
migration  of  the  Dorians  to  the  year  1104  B.  C.  The  Aryans,  a  tribe 
of  people  of  the  same  stock  as  the  Hellenes  and  designated  by  the 
latter  under  the  general  title  of  Pelasgians,  were  without  doubt  the 
original  inhabitants  of  Greece.  This  period  is  con- 
fined to  that  prehistoric  era  when  stone  and  copper 
predominated,  and  to  the  Bronze  Age  of  the  Mycae- 
nean  epoch.  The  principal  centres  of  the  artstyle 
of  this  period  were  found  on  the  coasts  and  islands 
of  the  Aegean  Sea  but  especially  in  Argos  and 
Crete. 

II.  The  Dcric,  or  Archaic  Period,  from  1104—470 
B.  C.  The  national  Hellenic  period  began  about 
the  year  1000  B.C.,  when  the  Hellenes  had  taken 
up  permanent  residence  in  the  country,  at  which 
time  the  monarchy  was  changed  into  a  republican 
form  of  government.  The  mythology  which  arose  at  this  period  kindled 
the  spirit  of  art  and  gave  it  that  predominating  ideal  character  which 
afterwards  distinguished  it.  The  Hellenes  themselves  on  the  other  hand 
brought  with  them  into  the  country  their  own  peculiar  style  which  they 
further  developed  by  allying  it  with  the  ancient  Mythic  art  existing  at 
the  time  of  their  settlement,  and  by  making  new  use  of  Egyptian, 
Assyrian,  and  Hettite  influences.  From  the  7"^  century  B.  C.  downwards, 
when  Oriental  art  began  to  decline,  Hellas  took  up  the  leadership  in 
art  and  civilisation,  developed  its  own  style  in  a  characteristic  manner 
and  made  it  the  ruling  one  throughout  all  the  civilised  countries  existing 
at  that  time.  Three  orders  of  columns  were  etablished,  the  Doric,  the 
Ionic,  and  a  later  one,  the  Corinthian. 

III.  The  Period  when  Greek  art  reached  its  principal  development  from 
470  to  338  B.  C,  during  which  time  the  Doric  and  Ionic  Orders  exer- 
cised their  influence  mutually  one  on  the  other.  The  centre  of  this 
flourishing  period  was  that  reached  at  Athens  under  Pericles  in  the  years 
469 — 429  B.  C,  when  the  Doric  and  ionic  styles,  which  developed 
together,  evolved  the  Attic-Doric  and,  Attic-Ionic  styles.  The  latter  ex- 
celled in  elegance,  the  former  in  manly  strength.    The  Erechtheion  which 


GREEK  ORNAMENT. 


45 


was  begun  in  the  year  425  B.  C.  but  not  completed  till  408  B.  C,  is 
one  of  the  most  beautiful  monuments  of  Greek  art  in  existence. 
IV.  The  Alexandrian  Period  from  338  to  146  B.  C;  this  included  the  deve- 
lopment of  the  Corinthian  style  down  to  the  destruction  of  Corinth,  which 
was  followed  by  the  downfall  of  Greek  independence  and  the  union  of 
Grecian  with  Roman  art. 
Although  the  two  great  styles  of  Greek  construction  were  developed  simul- 
taneously still  the  general  employment  of  each  separate  style  enables  a  chrono- 
logical division  to  be  made.     The  Doric  must  be  described  as  the  oldest  style, 
but  its   strongly   marked,   earnest  character,   unsuitable  for  rich   ornamentation, 
failed  to  give  pleasure  to  the  gay  spirit  of  the  luxurious  Athenians  who  lived 
at  the  time  of  Pericles  when  Greek  art  was  in  its  glory.     The  Doric  was,  there- 
fore, partly  superseded  by  the  Ionic,  and,  later  on,  by  the  Corinthian  style.   The 
ornamentation  in  these  two  styles  allowed   more  play  to  the  artist's  fancy,  and 
was  not  so  binding  in  its  rules  as  the  Doric.     The  quiet  harmony  peculiar  to 
the  Doric  was,  however,  lost,  ornamentation  became  predominant  and,  later  on, 
tended  to  mask  the  masonic  form  in  Roman  art. 


Late  Doric  Frieze   found  in  the  wall  of  a  church  at  Athens. 


46 


GREEK  ORNAMENT. 


Plate  17. 


""^5^i^^Q:'= 


"Sri, 


a  □  D  D  a 


¥-^  / 


■^■..:  ;c^<? 


m^" 


V     "-      .«  nnnnnnn 


Imiiiu 


n^-^jjjjjjjujjl 


iGaaaDDDnDD 


GREEK  ORNAMENT.  47 

Plate  17. 

Greek  Pre-historic  Ornament. 

Fig.    1.  Mural  frescoes  in  the  palace  of  Tiryns  (Schliemann). 
„      2,  4—12,  16,  and  17.     Gold  jewels  found  in  graves  in  Mycenae  (Schliemann). 
,,      3.  Bronze  plate  from  Olympla  (Lubke). 

„  13.  Dipylon  vase  (Baumeister). 

„  14.  Cyprian  coin. 

„  15.  Capital  of  Column  from  the  Tomb  of  Agamemnon  (Canina). 

„  18.  Kyanos  frieze  from  Tiryns  (Schliemann). 

„  19.  Ceiling  in  relief  from  Orchomenos  (Schliemann). 


Plate  18. 

,    Doric  Ornament. 

Fig.  1.  Angle  of  Pediment  of  the  temple  in  the  island  of  Aegina.  (Mauch,  Archi- 
tektonische  Ordnungen).  This  temple  is  an  example  of  the  Doric  Order  architecture 
at  the  period  of  its  highest  splendour,  that  is,  after  the  defeat  of  the  Persians,  and 
when  Pericles  stood  at  the  head  of  the  government  of  Athens.  Pericles  fully  under- 
stood, at  this  period,  the  great  importance  of  Art  and  its  influence  on  the  state. 
All  the  works  of  art  designed  by  him  were  carried  out  by  Phidias  the  renowned 
sculptor,  with  the  assistance  of  Ictinus  and  Callicrates,  the  best  architects  of  the  time. 
These  men  succeeded  in  bringing  Greek  architecture  in  all  its  parts  to  the  highest 
perfection. 

The  temple  was  erected,  probably  in  the  75th  Olympiad,  and  was  dedicated 
to  Aphaea.  The  columns  have  an  entasis  of  Vso  of  the  lower  diameter,  and  present 
much  more  pleasing  proportions  than  those  from  Paestum.  This  is  especially  so  in 
the  capital;  here,  the  strong,  sharp-angled  projection  produced  by  a  swelled  cushion 
is  avoided,  and  the  capital  formed  of  cornicelines  which  rise  delicately  and  gracefully 
from  the  flutings.  In  this  way,  an  echinus  is  formed,  which,  while  being  strong,  is 
not  bent  and  swollen  out  under  its  burden,  and  in  which  the  effects  of  light  and  shade 
are  most  attractive.  The  fillet  under  the  echinus  displays  that  delicate  formation 
peculiar  to  the  time  of  Pericles,  the  ehannels  in  the  neck  alone  being  the  only  parts 
which  remind  one  of  the  ancient  columns  from  Paestum.  The  profile  of  the  cyma 
over  the  sloping  gable-cornice  is  very  beautiful,  and  was  painted  with  an  ornament 
which  the  Greeks  called  anthemion.  The  griffin  on  the  roof  of  the  gable  has  been 
reconstructed  after  discovered  fragments.  The  whole  structure  was  built  of  polished 
and  painted  sandstone.  Traces  of  yellow  and  green  foil  have  been  found  on  the  architrave. 

The  taenia  was  painted  in  vermilion,  the  regula,  triglyphs,  and  mutule,  in  blue. 
The  plain  bands  were  red,  with  traces  of  scrolls  having  been  painted  on.  The  cymatium 
above  these  was  decorated  with  red  and  blue  foil,  the  same  colours  being  given  to 
the  flowers  on  the  cyma.  The  back  ground  of  the  pediment  was  blue. 
„  2.  Angle  of  Pediment  from  the  temple  of  the  Apollo  Epicurius  near  Phigaleia 
in  Arcadia.  (Mauch,  Architektonische  Ordnungen.)  This  temple,  which  was  built 
by  Ictinus,  the  Architect  of  the  Parthenon  in  Athens,  was  with  the  exception  of  the 
temple  of  Tegea,  one  of  the  most  beautiful  throughout  the  entire  Peloponnesus. 
It  was  constructed  of  bluish-white  hmestone,  the  sculptured  frieze  inside  being  of 
white  marble.  The  entire  proportions  resemble  those  from  the  time  of  Pericles  in 
Attica.  The  cyma  over  the  gable-cornice  is,  however,  entirely  different.  It  is 
ornamented  with  the  acanthus-flower  in  relief. 


GREEK  ORNAMENT. 


^BPiPiPiPiPipPiPipipifljpiilJil^ 


GREEK  ORNAMENT.  49 

Fig.    3.  Capital  from  the  temple  of  Ceres  in  Paestum  (Mauch,  Architektonische  Ordnung). 

This  temple  was  in  all  probability  built  under  the  rule  of  the  Sybarites,  about  the 

year  530  B.  C.     Certain  peculiarities  point  to  Etruscan  influence. 
„      4.  Ante-fix   from   temple  of  the  Apollo  Epicurius  near  Phigaleia  in  Arcadia 

(Mauch,  Archit.  Ordn.).    This  ornament  is  beautifully  sculptured  in  marble.    (See 

Fig.  2.) 
„      5.  Acroterium  of  the  pediment  of  the  temple  on  the  island  of  Aegina  (Mauch, 

Archit.  Ordn.).    See  Fig.  1. 
„      6.  Profile  of  the  capital  from  the  same  temple  (Mauch,  Archit.  Ordn.).    See  Fig.  1. 
„      7.  Under  surface  of  the  corona  from  the  Parthenon  in  Athens  (Mauch,  Archit. 

Ordn.). 
„      8.  Ante-fix  from  the  Parthenon  in  Athens  (Mauch,  Archit.  Ordn.). 
„      9.  Capital  found  in  Paestum  (Mauch,  Archit.  Ordn.).    Tiiis  capital  shows  undoubted 

evidences  of  Etruscan  influence. 
„     10.  Anta-capital  in  Athens  (Mauch,  Archit.  Ordn.).    The  cymatium  of  this  capital  is 

painted  with  the  foil  peculiar  to  the  ancient  Doric  Anta  capitals. 
„     11.  Anta-capital  from  the  temple  of  Nemesis  in  Rhamnus  (Mauch,  Archit.  Ordn.). 
„    12.  Doric  cymatium  (Lubke,  Kunst  des  Altertums). 


Plate  19. 

Ornamental  Mouldings. 
(From  Uhde,  Architekturformen  des  klassischen  Altertums.) 
Fig.    1 — 5.  Ancient  Bead  and  reel. 
„      6—8.  Ogees  from  the  Ptolemeion. 
„      9,  and  10.  Ogees  from  the  Erechtheion. 
„    11.  Painted  Ogees  from  the  Theseum  Athens. 
„    12,  and  13.  Painted  Ogees  from  the  Propylaea. 
„     14.  Ogee  from  Mausoleum  at  Halicarnassus. 


Plate  20. 

Ionic  Ornament. 

(From  Mauch,  Architektonische  Ordnungen.) 

Fig.    1,  2,  4,  and  5.  Pilaster-capitals  from  the  cella  of  the  temple  of  Apollo  Didymaeus 
near  Miletus.    Fig.  1  shows  the  front  view  of  half  such  an  Ionian  capital,  and 
fig.  5,  the  side  view.    Figs.  2  and  4  are  ornaments  of  the  space  between  other 
capitals  with  the  same  cella. 
„      3,  8,  9,  and  12.  Angle  columns  from   the  temple  of  Minerva  Polias  at  Priene. 
This  temple  is  one  of  the  most  beautiful  examples  of  Ionian  architecture.    Fig.  8 
is  the  section  of  the  column  at  the  neck,  with  the  capital,  seen  from  below.    Fig.  9 
is  the  pedestal  with  four-cornered  plinth.    This  description  of  base  is  rare,  being 
found  only  in  the  Ionic  column.    Fig.  12  shows  the  ornament  on  the  under  side 
of  the  cornice.    Details  as  to  the  helicoid  of  the  Ionic  capital  will  be  found  in 
"Speltz,  Saulenform  der  Schneckenlinie  des  jonischen  Kapitals". 
„      6.  Capital  and  plan  from  the  temple  of  Apollo  Didymaeus  near  Miletus. 
„      7.  Capital  of  the  central  column  of  the  temple  of  Minerva  Polias  in  Priene, 
with  plan. 

SPELTZ,  Styles  of  Ornament  4 


50 


GREEK  ORNAMENT. 


Plate   19. 


Plate  20. 


GREEK  ORNAMENT. 


51 


<^lJiJ8L^JCift4^,^^^#J^'.MM 


GREEK.ORNAMENT. 


GREEK  ORNAMENT.  53 

Fig.  10.    Capital  from  the  aqueduct  of  Hadrian  at  Athens,  with  plan. 
„    11.    Ornament  between  the  Capitals  in  the  cella  of  the  temple  of  Apollo  Dldy- 

maeus  near  Miletus. 
„     13.    Side-view  of  a  capital  in  the  Propylaeum  of  the  temple  of  Minerva  Polias 

at  Priene. 
„     14,  and  15.    Side  and  front-views  of  a  pilaster-capital  at  Priene. 


Plate  21. 

Ionic  Ornament. 

Fig.  1,  and  4.    Capitals  and  pedestals  of  columns  in  the  Temple  of  Minerva  Polias 
at  Athens  (Mauch). 

In  the  Acropolis  at  Athens  were  erected  numerous  buildings  of  which  the 
Parthenon  and  the  Erechtheion  were  the  most  important.  The  columns  in  the  latter, 
with  their  energetic,  double-fluted  volutes,  the  braided  torus  over  the  echinus,  the 
latter  being  visible  in  its  entire  round,  the  finely  moulded  cushion,  and  the  delicately 
ornamented  neck,  display  structure  of  the  purest  and  most  refined  style. 

Instead  of  the  Sanctuary  which  formerly  stood  here,  and  was  destroyed 
during  the  Persian  war,  the  Erechtheion  was  erected,  but  was  not  completed  until 
after  the  year  409  B.  C.  In  the  back  wall  of  the  North  Portico,  was  the  celebrated 
beautiful  door,  details  of  which  are  given  in  Figs.  3,  6,  and  7.  At  the  west  end  o 
the  south  side  is  the  Caryatide  Portico.  This  Portico,  which  is  covered  with  marble 
tiles,  is  carried  on  6  supports,  called  Caryatides  (Fig.  10).  They  probably  represent 
Pan-Athenaic  virgins.    The  entablature  over  these  figures  has  no  frieze. 

„     2.    Pilaster-capital  from  the  hexastyle  or  Eastern  portico  of  the  Erechtheion, 
Athens  (Mauch). 

„    3,  6,  and  7.    Details  from  the  door  of  the  Erechtheion  In  Athens  (Mauch). 

„    5.    Capital  from  the  interior  of  the  Temple  of  Apollo  at  Bassae,  near  Phiga- 
leia  (Mauch). 

„    8.    Capital  from  the  temple  of  Neandria  (Liibke). 

„    9,  11,  and  12.    Grecian  antefix  of  the  time  of  Pericles  (Libonis). 

„  10.    Caryatid  of  the  Erechtheion  at  Athens  (Mauch). 

„  13,  and  14.    Capital  and  anta  from  the  temple  of  Minerva  Polias  at  Athens  (Mauch). 

„  15,  and  16.    Grecian  coins  (Liibke). 


Plate  22. 

Corinthian  Ornament. 

Fig.  1.    Capital  of  temple  at  Patara  (Semper). 
„    2.    Capital  from  the  Tower  of  the  Winds  In  Athens  (Mauch). 

This  Corinthian  capital,  which  is  of  the  simplest  kind,  has  been  found  with  but 
very  slight  changes  all  over  Greece.  It  was  even  employed  in  Byzanthine  architecture. 
„  3.  Capital  and  entablatures  from  the  monument  of  Lysicrates  at  Athens  (Mauch). 
This  tower-like  structure,  which  dates  from  the  year  334  B.  C,  is  built 
of  Pentelic  marble,  and  is  still  in  existence  although  in  a  very  damaged  condition. 
A  six-columned  circular  pseudo-peripteral,  rests  on  a  substructure  built  in  the  form  of 
a  podium.    On  the  roof  are  three  caulicoloe  (Plate  23,  Fig.  11)  with  central  finial 


54 


GREEK  ORNAMENT. 


Plate  22. 


iM^MlliligllliilM^ilillJjli^^ 


o 

m 
m 


Plate  23. 


GREEK  ORNAMENT. 


55 


56 


GREEK  ORNAMENT. 


Plate  24. 


GREEK  ORNAMENT.  57 

or  crest  (Plate  22,  Fig.  9  and  10).  This  crest,  which  is  of  one  piece,  is  one  of  the 
most  wonderful  examples  of  Greek  sculpture.  The  three  wide  projecting  scrolls  of 
the  same  were  at  one  time  supported  by  consoles,  but  these  have  now  entirely 
disappeared.  The  capital  approaches  more  to  the  real  Corinthian  capital  than  that 
of  the  Tower  of  the  Winds. 
Fig.  4.    Capital  of  a  column  from  the  ruins  of  the  temple  of  Apollo  near  Miletus 

(Mauch). 
„     5.    Upper  part  of  the  Tower  of  the  Winds  in  Athens  (Mauch). 

This  is  an  octagonal  tower  of  Pentelic  marble,  on  the  sides  of  which,  under 
the  cornice,  the  figures  of  the  eight  winds  are  shown  in  relief.  On  the  pyramidal 
top  of  the  roof  was  a  brazen  Triton  which  served  as  a  weather-cock.  The  tower 
itself  contained  a  clepsydra  or  water  clock. 

6.  Base  of  a  column  of  the  Lysicrates  monument  at  Athens  (Mauch)  (Fig.  3). 

7.  Capital  of  portico  of  the  Temple  of  Jupiter  Olympius  at  Athens  (Mauch). 

8.  Pilaster  capital  from  Paestum  (Mauch). 

9.  Upper  part  of  the  Lysicrates  monument  in  Athens  (Mauch)  (Fig.  3). 

10.  Crest  of  the  same  monument  (Mauch)  (Fig.  3). 

11.  Plan  of  the  capital  in  Fig.  3. 

12.  Capital  at  Eleusis  (Mauch). 


Plate  23. 

Fig.  1.   Terra-cottas  from  Olympia  (Bottlcher,  Olympia). 
„     2.   Frieze  from  a  portico  on  the  island  of  Delos,  built  at  the  time  of  Philip 
of  Macedon  346-337  B.  C.  (Uhde). 

3.  Mosaic  flooring  in  the  Temple  of  Zeus  at  Olympia  (Graul). 

4.  Lion  from  the  tomb  of  Mausolus,  in  the  British  Museum  (Roger-Miles). 

5.  Bronze  plate,  representing  the  dispute  on  the  tripod  (Roger-Miles). 

6.  and  7.   Fragments  of  a  Grecian  frieze  in  the  Villa  Albani  in  Rome  (Tatham). 
8,  and  9.    Columns  from  portico  on  the  island  of  Delos,  front  and  side  views  (Uhde). 

10.  Head  of  Zeus  in  bronze  from  Olympia  (LUbke). 

11.  Roof  of  the  monument  of  Lysicrates  in  Athens  (Mauch).   See  Plate  21,  Figs.  3, 
6,  9,  and  10. 

12.  Painted  clay  antefix  (Reichhold). 


Plate  24. 

(From  C.  Thierry,  Classische  Ornamente.) 

Fig.  1,  and  3.   Bas-reliefs  from  the  Kircher's  Museum,  Karlsruhe. 
„     2.    Bas-reliefs  from  the  National  Museum,  Karlsruhe. 


Plate  25. 

Fig.  1.  Bas-reliefs  suggesting  oriental  influence  (Thierry). 

„  2.  Marble  ornament  from  Branchidae  (Thierry). 

„  3.  Marble  bas-relief  in  the  Villa  Poniatowsky  in  Roma  (Thierry). 

„  4.  Painted  terra  cotta  dish  (Dolmetsch). 

„  5.  Marble  seat  or  throne  (Thierry). 


58 


GREEK  ORNAMENT. 


Plate  25. 


Plate  26. 


GREEK  ORNAMENT. 


59 


60 


GREEK  ORNAMENT. 


Plate  27. 


GREEK  ORNAMENT.  61 

Plate  26. 

Principal  examples  of  the  Grecian  Vase  from  Baumeister. 
The  principal  centres  of  pre-historic  ceramics  was  in  Troy  and  in  the  islands  of  Cyprus 
and  Mytilene. 

The  real  Grecian  ceramics  are  distinguished  as  follows: 

1.  Vessels  of  the  geometric  style  (about  1000—700  B.  C.j,  which  have  been  discovered 
principally  near  the  Dipylon  Gate  in  Athens,  hence  the  title  Dipylon  Style.  The  colouring 
is  dark-brown  on  yellow  clay. 

2.  Vessels  showing  Oriental  influences,  dating  from  the  8'h  to  the  6tii  century  B.  C., 
the  principal  centre  being  in  Corinth. 

3.  Attic  black-coloured  vessels  which  were  developed  in  Athens  from  the  6th  century 
B.  C.  downwards,  the  clay  is  red. 

4.  Red-coloured  vessels  which  were  developed  from  the  fore-going  style  in  the  fifth  century 
B.  C,  the  entire  vessel  being  painted  over  with  black  varnish,  thus  enabling  red  figures  to 
be  made  on  a  black  ground.  The  ceramic  art  entirely  disappeared  from  Greece  about  the 
year  300  B.  C,  being  afterwards  revived  in  Lucania,  Campania,  and  Apulia. 

Fig.   1.  Vase  from  the  island  of  Mytilene,  dating  from  the  beginning  of  the  last  millenium, 

B.  C.     The  surface  is  gray,  painted  of  a  dull  brown. 

„  2.  Vase,  lacquered,  from  the  Greek  Islands,  of  Mycaenean  origin. 

„  3.  Athenian  vase  from  the  7'^  century  B.  C. 

„  4.  Phaleronian  jug  from  Attica,  found  in  grave  near  Phaleron. 

„  5.  Attic  amphora  from  the  7th  century  B.  C. 

„  6.  Vase  of  later  date  from  the  island  of  Rhodes. 

„  7.  Corinthian  vase. 

„  8.  Chaldaean  vase. 

„  9.  Vase  of  Gamedes  from  Boeotia. 

„  10.  Vase  on  three  feet,  Boeotizu 

„  11.  Attic  Amphora. 

„  12.  Black  figured  Amphora,  Athens. 

„  13.  Attic  Oinochoe. 

„  14.  Attic  Kylix. 

„  15.  Amphora  by  Nicosthenes. 

„  16.  Krater  or  mixing  bowl  for  wine. 

„  17.  Pyxis  or  toilet  box. 

Plate  27. 

Frescoes  and  Vase-painting. 
Fig.  1,  3.  5—7,  9—12,  20,  26-28,  33,  35,  36,  39,  41—43.    Greek  vase  paintings  (Libonis, 

Reichhold,  Meyer). 
„     2,  4,  13—16,  21—25,  34,  38.    Fret-work  fillets,   principally  from   Greek   vases 

(Meyer.  Reichhold). 
„     8.    Team  of  carriage  horses  from  the  older  Grecian  period,  from  a  black  figured 

vase  (Gerhard,  Ausserliche  Vasenbildungj. 
„    17.    Grecian  war-ship  from  a  vase-painting  (Baumeister). 

„    18,  30—32,  39.    Coffer-work  from  the  ceiling  of  the  Propylaea  in  Athens  (Meyer). 
„    19.    Vase-painting,  Ceramic  work  from  the  Grecian  islands  (Reichhold). 
„   29.    Ornamental  work  on  the  ears  of  a  Greek  vase  (Reichholdj. 
„    37.    Ornamental  work  on  the  neck  of  a  Greek  hydria  (L'art  pour  Tous). 
„   40.    Ornamentation  of  a  coffered  work  ceiling  from  the  Parthenon,  Athens  (Meyer). 


62 


GREEK  ORNAMENT. 


Plate  28. 


GREEK  ORNAMENT.  53 

Plate  28. 

Fig.    1.  Grecian  mirror  (Reichhold).    This  is  given  as  an  Etruscan  mirror,  bout  it  would 
perhaps  be  more  correct  to  consider  it  as  having  been  produced  in  Greece. 

„      2.  Female  apparel  dating  from    the    time   when   Greece  stood  at  its  hi^^hest 
splendour  (Reichhold) 

„      3,  and  17.  Furniture  inlay  from  the  Greek  colonies  in  the  Crimea  (Semper), 

„      4.  Marble  chair  of  state  (Baumeister). 

„      5.  Bronze  leg  of  an  arm  chair  (Reichhold). 
6,  10,  16,  18.  Chairs  (Racinet  and  Baumeister). 

„      7.  Bronze  tripod  from    he  geometrical  ornament  period  (Reichhold). 

„      8.  Fans  (Racinet). 

„      9.  Kylix  or  dish  found  near  Kertsch  with  engravings  showing  the  furniture  of  Greek 
lady's  boudoir  (Antiq.  d.  Bosph.,  Cymm.). 

„    11—13.  Lyres  (Racinet). 

„     14.  Drinking-horn  (Racinet). 

„    15.  Small  table  (Racinet). 

„    19.  Marble  arm-chair  (DSrpfeld  and  Reich,  Theater). 

„    20.  Couch  with  table  after  copy  from  the  Industrial  Art  Museum  in  Dresden. 


Plate  29. 

Fig.    1.  Helmet  from  Samnium  (Baumeister). 

2,  and  6.  Helmets  of  gladiators  (Baumeister). 

3,  and  4.  Relief,  arms  and  armour  (Baumeister). 
5.  Dagger  (Baumeister). 

7.  Iron  helmet  (Baumeister). 

8.  Bronze  figure  from  a  carriage-pole,  in  the  Museum  Dutuit,  Paris. 

9.  Relief,  weapons,  from  Pergamon  (Baumeister). 

10.  Iron  helmet  with  silver  ear-laps  (Baumeister). 

11.  Bronze  greaves  (Baumeister). 

12.  Bronze  shield  (Libonis). 

13.  Helmet  from  the  time  of  Homer  (Racinet). 

14.  Bronze  tripod  from  Metapontum  (Reichhold). 

15.  Bronze  handle  of  a  looking-glass,  from  the  Dutuit  Museum,  Paris. 

16.  Spear-head  (Baumeister). 

17.  Coins  stamped  with  the  Olympian  Zeus,  from  Elis  (Liibke). 

18.  Fragment  of  statue  of  a  woman,  from  the  Acropolis  in  Athens  (Lflbke). 

19.  Stele  of  Aristion  by  Aristocles,  Athens  (Ltlbke). 

20.  and  21.  Arrow  heads  (Baumeister). 

22,  and  23.  Theatre  masks  for  men  and  women  (Baumeister). 
24.  Box,  from  a  vase-painting  (Gerhard,  etruskische  Spiegel). 


64 


GREEK  ORNAMENT. 


Plate  29. 


Plate  30. 


GREEK  ORNAMENT. 


65 


SPELTZ,  Styles  of  Ornament. 


66 


GREEK  ORNAMENT. 


Plate  30. 

Fig.   1 — 5,  and  8.    Ornaments  (Libonis). 
6,  and  7.    Foot-gear  (Renard). 
9.    Cymbals  (Renard). 

10.  Gold  belt-clasps  (Libonis). 

11.  Tambourine  (Renard). 

12.  and  13.   Sacrificial  knives  (Renard). 

14.  Sunshade  (Baumeister). 

15.  Girl  with  embroidery-frame  (Baumeister). 

16.  17,  21,  and  22.    Coiffures  with  ornamentation  (Racinet). 

18.  Torch  (Renard). 

19.  Horse-bridle  (Racinet). 

20.  and  23.   Necklaces  (Havard).    The  first  is  considered  by  some  to  be  Etruscan  work, 
it  is,  however,  in  all  probability  Grecian. 

24.   Silver  vase  with  relief  in  gUt  (Havard). 


Greco-Phoenician  Bust, 

(L'Art  pour  tous.) 


ETRUSCAN  ORNAMENT. 


^y@/e/a/g/"B/a/^a/"S/§75/s^^/^/s/g/i/t^;^ 


Scene  of  a  banquet 

(Martha,  I'Art  EtrusqueX 


truscan  was  the  name  given  to  a  people  who 
lived  in  what  is  now  called  Tuscany  at  the 
time  when  Rome  was  founded.  It  is  impossible 
to  trace  the  origin  of  their  descent,  but  it 
appears  as  if  they  had  wandered  down  from 
the  north  east  and  took  forcible  possession  of 
the  country  about  the  twelfth  century,  B.  C. 
in  which  they  afterwards  settled  and  which 
was  inhabited  by  Samnites,  Umbrians,  Pelas- 
gian  and  other  races.  The  period  of  the 
highest  development  of  the  Etruscans  dates 
from  800  to  400  B.  C.  They  were  subjugated 
by  the  Romans,  after  which  they  gradually  disappear  from  history,  the  only 
traces  of  their  once  having  existed  being  some  few  architectural  monuments, 
chiefly  tombs,  which  have  come  down  to  us.  Although  the  monuments  left 
behind  by  the  Etruscans  show  most  decided  traces  of  Grecian  influence,  still, 
the  hypothesis  that  the  Etruscans  were  of  Grecian  origin  cannot  be  accepted  on 
that  account.  The  racial  differences  between  them  and  the  Grecians  were  so  marked, 
they  were  so  totally  different  in  their  physical  constitution  from  the  latter,  that  it  is 
impossible  to  regard  the  Etruscans  as  of  Hellenic  origin.  It  is  possible  that  in  their 
wanderings  towards  Italy  they  came  into  intimate  contact  with  the  Grecians,  and 
thus  brought  with  them  the  elements  of  Grecian  art  into  their  adopted  country. 
Their  art  was  in  all  probability  subject  to  influences  proceeding  from  Phoenicia 
and  Carthage,  but  more  especially  to  ancient  Ionic  influence.  They  understood, 
however,  how  to  change  all  these  influences  in  such  a  way  as  to  give  them 
the  stamp  of  their  own  national  art. 

At  the  period  of  their  subjugation  by  the  Romans,  the  Etruscans  had  brought 
their  own  art  to  such  a  high  state  of  development  that  it  was  able  to  exercise 
an  influence  by  no  means  small  on  the  development  of  Roman  art  which  was 
at  that  time  in  its  infancy.  Roman  art  came  afterwards,  of  course,  entirely  under 
the  influence  of  Grecian  art. 


6* 


68 


ETRUSCAN  ORNAMENT. 


Plate  31, 


ETRUSCAN  ORNAMENT. 


69 


Plate  31. 

Fig.   1,    Relief,  travelling-carriage  (Baumeister). 

2.  Antefix  of  a  tomb  (Martha). 

3.  and  8.    Etruscan  bigas  with  bronze  casing.    These  were  found  in  Norchia  and 
purchased  by  the  Metropolitan  Museum  in  New  York. 

4.  Etruscan  frescoes  (Martha). 

5.  Bronze  candelabrum  (Martha). 

6.  From  the  facade  of  a  tomb  in  Norchia  (Liibke). 

7.  Clay  sarcophagus  from  Cervetri,  in  the  Louvre  (Ltibke). 
9,  and  11.    Marble  altar  from  the  collection  in  the  Villa  Borghese  near  Rome  (Tatham). 

10.    Terra-cotta  altar  (Tatham). 


-if 

^    1, 

f> 

2, 

II 

3. 

«l 

4, 

•1 

7, 

91 

8. 

II 

9. 

II 

10. 

If 

11. 

tl 

13. 

>> 

15. 

»» 

18. 

»l 

21. 

»l 

23. 

11 

24. 

26. 

Plate  32. 

and  6.    Swords  (Baumeister). 
and  5.    Helmets  (Libonis). 

Link  for  the  handle  of  a  bucket.    6th  century  B.  C.  (Reichhold). 
16,  17,  19,  20,  22,  and  25.     Ornaments  (Libonis). 
12,  and  14.    Greaves  (Libonis). 

Fibula  (Libonis). 

Fighting  warriors  (Racinet). 

Etruscan  peasant  (Racinet). 

Razor  (Libonis). 

Etruscan  mirror  in  the  numismatic  collection  in  Paris  (Gerhard,  Etruskische  Spiegel). 

This  is  considered  by  some  to  be  Grecian  work. 

Tripod  (Reichhold). 

Tripod  (Martha,  I'Art  Etrusque). 

Dagger  (Baumeister). 

Heating-stove  (Martha). 

Antique  bronze  cist  (Gerhard). 

Spear-head  (Baumeister). 


Etruscan  tomb  in  Cervetri  (Renard). 


70 


ETRUSCAN  ORNAMENT. 


Plate  32. 


ROMAN  ORNAMENT. 


ith  their  art  the  Greeks  conquered 
the  world,  the  Romans  with  their 
politics  and  their  legions.  The 
whole  civilized  world  at  the  pre- 
sent day  is  striving  to  emulate 
the  works  of  art  of  the  former, 
the  laws  of  the  latter  are  consi- 
dered throughout  the  world  as 
the  foundation  upon  which  all  laws 
must  be  established.  In  these 
facts  lie  the  difference  in  character  between  the  two  peoples.  Those  Romans 
who  lived  at  the  beginning  of  Roman  history  were  unable  to  develop  an  in- 
dependent art  of  their  own,  for  all  their  endeavours  were  directed  to  amassing 
wealth,  and  increasing  their  lands.  They  were  obliged  therefore  to  take  the 
motifs  for  their  art  from  Etruria  and  continued  to  do  so  until  Grecian  art  became 
predominant.  Becoming  more  accustomed  to  luxury  from  the  conquests  which 
they  made,  the  Roman  began  gradually  to  form  a  national  art  of  their  own 
under  the  guidance  of  Greek  teachers.  The  practical  spirit  of  the  Romans  and 
their  taste  for  monumental  work  are  naturally  to  be  seen  best  exemplified  in 
their  architecture,  a  science  in  which  they  have  performed  most  magnificent 
work  especially  in  connection  with  the  monumental  development  of  temples, 
basilicas,  thermae,  theatres,  etc.  The  Romans  furthermore  took  up  and  accom- 
plished the  task  of  combining  numerous  elements  in  a  homogeneous  whole,  and 
of  developing  them  further.  In  this  latter  art  they  became  the  teachers  of  future 
generations.  The  Romans  adopted  the  three  columnar  Orders  of  the  Greeks 
retaining  however  at  the  same  time  the  Etruscan  column.  To  these  four  orders 
they  added  the  Composite  Order. 

Besides  bringing  architecture  to  a  high  state  of  development,  the  Romans 
also  succeeded  in  bringing  the  art  of  sculpture  to  a  great  degree  of  perfection. 


72 


ROMAN  ORNAMENT. 


In  this  latter,  however,  they  had  the  assistance  of  Greek  artists.  The  manner, 
however,  in  which  the  Romans  enriched  their  ornament  was  detrimental  to  the 
characteristic  Greek  outlines,  and  the  insatiable  luxury  predominating  during  the 
time  of  the  Caesars  finally  destroyed  completely  the  exquisite  harmony  of  Greek 
art — the  form  was  entirely  overgrown  by  the  ornament.  The  art  of  mosaic 
work,  which  had  its  origin  in  the  Orient,  was  brought  to  its  highest  perfection 
by  the  Romans,  all  the  old  Roman  mosaics  now  in  our  possession  prove  this 
beyond  any  question. 

The  fall  of  the  Roman  Empire,  and  the  victory  of  Christianity,  marked  also 
the  decline  and  fall  of  classic  art,  for  this  art  could  no  longer  appeal  to  those 
Christian  barbarians  who  now  poured  into  the  country  from  all  sides.  The 
eastern  Roman  Christian  Empire  exercised  a  very  great  influence  on  the  deve- 
lopment of  a  new  art  amongst  the  Christian  States  which  rose  from  the  ruins 
of  the  Western  Roman  Empire. 

From  the  so-called  Early  Christian  and  Byzantine  Style  shortly  afterwards 
developed,  the  Romanesque  Style  which  from  the  9**"  to  the  12'^  centuries  spread 
through  all  the  newly  constituted  States. 


Roman  Labrum  (Tatham). 


Plate  33. 


ROMAN  ORNAMENT. 


73 


74 


ROMAN  ORNAMENT. 


Plate  34. 


^ 


'-^aiiJAum 


A>ilA.^^kVjK^->>-\Uikl^\U\^ 


/mM^^iU^jiiUl^mWfA^'      ^ 


WIHHHHH 


ROMAN  ORNAMENT.  75 

Plate  33. 

Fig.  1,  4,  9,  19.  Capitals  and  entablatures  of  the  Doric  Order,  found  in  Albano, 
near  Rome  (Mauch).  It  appears  as  if  Vignola  organised  his  Doric  Order  according 
to  this  fragment.  The  entablature  produces  a  specially  fine  effect  by  means  of  the 
under  aspect  of  the  corona  soffit,  Fig.  19.  There  are  two  fascias  to  the  architrave, 
the  upper  one  projecting  infront  of  the  lower.  Figure  4  gives  a  view  of  the  capital 
seen  from  below,  and  Fig.  9,  the  base  of  the  column. 

„  2,  5,  17.  Doric  Capitals  and  entablatures  from  the  Thermae  of  Diocletian 
(Mauch)  which  were  erected  about  300  B.  C.  The  delicate  profile  of  the  cornice, 
the  decorated  members,  and  the  fretwork  denticulations  in  meander  form,  belong 
really  more  to  the  Ionic  order.  Figure  5  shows  the  capital  seen  from  below,  and 
Fig.  17,  the  soffit  of  the  corona. 

„     3.    From  a  white  marble  altar  in  the  Vatican  Museum  (Tatham). 

„     6,  18.    From  a  white  marble  altar  in  the  Museum  of  the  Capitol  in  Rome  (Tatham). 

„     7,  8,  10,  11,  13,  14.    Foil  for  cyma  (Mauch). 

„    12.     Bead-moulding  (Mauch). 

„  15.  Arch  with  rustication  from  the  Amphitheatre  in  Pola.  Completed  150  A.  D. 
(Uhde). 

„    16.    Frieze  ornament  (Tatham). 


Plate  34. 

Fig.   1,  2,  5.    Square  angle  pier  with  principal  cornice  from  the  Thermae  of  Diocletian 

in  Rome  (Mauch).  This  pier,  which  is  of  the  Ionic  order,  and  was  placed  on  an 
angle,  is  an  example  of  the  questionable  inconsistency  of  employing  the  capital  of 
a  column  on  a  square  pier.  This  is  seen  in  the  fact  that  the  echinus,  which  is 
rounded  above,  is  forced,  below,  together  with  the  astragal,  to  sink  into  the  straight 
lines  of  the  body  of  the  column.  The  Frieze  is  pulvinated,  a  form  often  used  by 
the  Romans.  Figure  2  shows  the  base  of  the  pilaster,  and  Fig.  5  a  view  of  the 
capital  seen  from  below. 

„  3,  4,  6.  Columns  and  entablatures  from  the  temple  of  Fortuna  Virilis  in  Rome 
(Mauch).  This  temple  was  Tetrastyle  Pseudo-peripteral  with  a  portico  two  inter- 
columniations  deep.  Its  erection  took  place  towards  the  close  of  the  Republic. 
The  entablature  is  by  no  means  free  from  objections,  for,  besides  other  errors,  the 
bed  moulding  is  heavy,  the  frieze  and  the  architrave  poor.  Figure  3  shows  the 
base  of  the  column,  and  Fig.  6,  the  capital  seen  from  below. 

„     7.    Column  in  the  court  of  saint  Hieronymus  in  Rome  (Piranesi). 

„     8.    Capital  of  a  house  on  the  Bridge  of  Gratianus  in  Rome  (Piranesi). 

„     9.    Capital  from  the  temple  of  Procedis  (Piranesi). 

„    10.    Capital  from  the  basilica  of  San  Clemente  (Piranesi). 

„    11.    Capital  from  a  house  in  Rome  (Piranesi). 

„    12.    Capital  from  the  Palace  Pionetti  in  Rome  (Piranesi). 

„   13.    Capital  from  the  temple  of  Priscae  in  Rome  (Piranesi). 

„   14.    Capital  of  a  colunm  in  the  Villa  Negronia  in  Rome  (Piranesi). 


76 


ROMAN  ORNAMENT. 


Plate  35. 


ROMAN  ORNAMENT. 


77 


Plate  35. 

Fig.  1.   Soffit  of  the  corona  from   the  temple  of  Castor  in  the  Forum  Romanum 

(Mauch). 
„     2,  10,  11,  12.   Capitals  and  entablatures  from  the  interior  of  the  Pantheon  in  Rome 

(Mauch). 

This  building  is  still  well  preserved  it  was  built  by  Hadrian  124  A.  D.  on  the 

north  side  of  the  Thermae  of  Agrippa.    Figure  10  gives  a  view  of  the  capital  from 

below,  Figure  11,  the  base  of  the  column,  and  Fig.  12  an  under  view  of  the  corona. 
„     3.   Fragment  from  the  Villa  Borghese  in  Rome  (Piranesi). 
„     4,  5,  7.   Fragments  found  near  S.  Gregorius  (Mauch). 
„     6.   Fragment  from  the  Villa  Albani  (Piranesi). 
„     8.   Fragment  from  the  Villa  Borghese  (Piranesi). 
„     9.    Capital  from  the  temple  of  Castor  in  the  Forum  Romanum  (Mauch). 


Plate  36. 

Fig.  1,  6.   Capitals  and   entablatures  from  the  arch  of  Septimius  Severus  in  Rome 

(Mauch). 

This  is  an  example  of  the  composite  order.    Figure  6  is  a  view  of  the  Capital 
from  below. 
„     2.  From  a  Roman  sacrificial  altar  (Piranesi). 


Marble  Fragment  from  Rome  (Tatham). 


78 


ROMAN  ORNAMENT. 


Plate  36. 


-I.    t 


% 


^'J^r^ 


iKMM.MV-tMv'J 


Plate  37.  ROMAN  ORNAMENT. 


79 


mmwmrrrmvm 


80 


ROMAN  ORNAMENT. 


Plate  38. 


ROMAN  ORNAMENT.  81 

Fig.  3,    4,   7,    8.     Base,   capital,    and    entablature    from    the    Temple    of   Vesta  in 
Tivoll  (Mauch). 

This  temple  was  circular  and  peripteral  with  18  columns,  10  of  which  are  still 
in  good  condition.  The  columns  are  not  perpendicular  but  inclined  to  the  axis  in 
such  a  manner  that  the  inner  lines  on  the  tapering  shaft  receive  almost  a  vertical 
direction,  thus  increasing  not  only  the  apparent  but  the  real  stability  of  the  whole. 
In  order  to  produce  this  effect,  the  fillets  under  the  base  and  above  the  capital  are 
somewhat  wedge-shaped.  The  capital,  which  differs  in  form  from  the  usual  normal 
capital  of  the  Corinthian  order,  has  a  very  pleasing  shape  with  a  large  central-flower 
between  the  volutes.  The  leaves  also  bear  more  resemblance  to  the  curled  cabbage 
•  rather  than  to  the  acanthus.  Figure  4  shows  a  section  through  the  corners  of  the 
capital  and  one  at  the  roots  of  the  leaves.  Figure  7  gives  an  oblique  view  of  the 
capital.  The  base  on  podium  in  Fig.  8  has  no  plinth,  possibly  on  account  of  the 
circular  form  in  which  it  is  constructed.  The  frieze  is  most  effective  being  decorated 
in  a  natura-listic  manner  with  ox  head,  rosettes,  festoons,  and  patera,  instead  of  the 
usual  ox-skull. 
„     5.    Roman  tgg  and  dart  moulding  (Mauch). 


Plate  37. 

Fig.  1  and  8.  Pedestals  from  the  Villa  of  Cardinal  Alexander  Albani  before  the 
Solarian  Gate  in  Rome  (Piranesi.  The  remaining  examples  are  all  from  the 
same  authority.) 

„     2.    Base  from  the  Villa  Barberini. 

„     3.     Base  from  the  Temple  of  Nero. 

„     4.     Base  from  the  Mausoleum  of  Augustus. 

„     5r    Capital  from  the  Villa  Farnese. 

„     6.     Base  from  the  Church  of  S.  S.  Quattro  Coronati. 

„     7.     Base  from  the  Basilica  of  S.  Bartolomeo  all'  Isola. 

„     9.    Pedestal  from  the  Church  of  S.  Prassede. 


Plate  38. 


Fig.  1,  5.    Pilasters  of  veined  marble  in  the  cloister  of  the  Convent  of  Ara  coeli 
near  Rome  (Tatham). 
„     2.     Fasces  from  a  bas-relief  in  the  Massimi  Palace  in  Rome  (Tatham). 

3.    Ancient  marble  altar  from   the   collection   in   the  Villa  Borghese   in   Rome 
(Tatham). 
„     4.    Fasces  from  a  bas-relief  in  the  Capitol  (Tatham). 
„     6.    Fragment  of  an  antique  frieze  found  in  Tivoli  (Tatham). 

7.     Fragment  of  a  frieze  in  high-relief  from  the  Villa  AldobrandinI  in  Rome 
(Tatham). 


SPELTZ,  styles  of  Ornament. 


82 


ROMAN  ORNAMENT. 


Plate  39. 


Plate  40. 


ROMAN  ORNAMENT. 


83 


^aii'ar^d6«r«>:^4i«K«n»3SiCMEa««MeKnimw 


6* 


84 


ROMAN  ORNAMENT. 


Plate  41. 


ROMAN  ORNAMENT.  85 

Plate  39. 

Roman  Chairs  and  Seats  after  Tatham. 

Fig.  1.    White  marble  arm-chair  from  Rome. 
„     2,  4.   Foot  olf  a  white  marble  sarcophagus  in  the  Vatican   Collection.     Front 

and  profile. 
„     3.    Half  of  a  green  marble  tripod  from  the  Vatican  Collection. 
„     5,  8.    Ancient  bronze  arm-chairs  from  the  Museum  in  Portici.    The  covering  is 

modern.    Front  and  profile. 

6.  Ancient  marble  stool  from  Rome. 

7,  9.    Ancient  bronze  stools  from  Rome.    Front  and  profile. 

„    10,  11.    Chairs  of  state  in  white  marble  from  the  Vatican  Collection.    Front  and 
profile.  

Plate  40. 

Roman  Sculptures  after  PiranesL 

Fig.  1.    Marble  tripod  in  the  Capitol  Museum  at  Rome. 

2.    Marble  vase  in  the  Farnese  Palace. 
„     3.    Terra-cotta  vase  in  the  Vatican  Library.    The  chimerical  figure  has  reference 

to  human  life. 
„     4.   Marble  candelabrum  in  the  Piranesi  Museum. 
„     5,  6.   Marble  vases  from  the  Villa  of  Hadrian. 


Plate  41. 

Fig.  1.  Skull  Ornament  (Baumeister). 

„  2.  Copper  axe  (Racinet). 

„  3.  Sheath  for  the  sacrificial  knife  (Baumeister). 

„  4.  Incense  box  (Racinet). 

„  5.  Handkerchief  of  the  sacrificer  (Baumeister). 

„  6.  Marble  table  from  Rome  (Tatham). 

„  7,  18,  27,  28.   Ancient  foot-gear.  (Racinet). 

„  8,  9,  10.    Female  coiffures  (Racinet). 

,,  11.  Silver  spoons  (Baumeister). 

„  12.  Sacrificial  axe    (Baumeister). 

„  13.  Memorial  wreath  of  gold  plate,  from  Lower  Italy  (Baumeister). 

„  14.  Key  (Racinet). 

„  15.  Priest's  ladle  (Baumeister). 

„  16.  Wine-jug  of  clay  used  In  religious  rites  (Racinet). 

„  17.  Ivory  figure  of  an  actor  (Baumeister). 

„  19.  Weight  in  form  of  skull  (Dutuit). 

„  20.  Fumigating  altar  (Baumeister). 

„  21.  Sacrificial  knife  (Baumeister). 

„  22.  Sprinkler  (Baumeister). 

„  23.  Priests  of  Cybele  in  full  canonicals  with  sacrificial  implements  (Baumeister). 

„  24.  Wine-jug  for  use  in  sacrifice  (Baumeister). 

„  25.  Priest's  mask  (Baumeister). 

„  26.  Incense-box  for  use  in  sacrifice  (Baumeister). 


86 


ROMAN  ORNAMENT. 


Plate  42. 


Plate  43. 


ROMAN  ORNAMENT. 


87 


88 


ROMAN  ORNAMENT. 


Plate  44. 


rJviNrCOM  DOMESTIC  EQ^V  IT*^ 


ROMAN  ORNAMENT.  89 

Plate  42. 

Fig.   1.    Marble  candelabrum  (Canina). 

2.  6.    Marble  table  (Canina). 

3.  Fragment  of  a  bronze  candelabrum  from  Naples  (Libonis). 

4.  Silver  dish  found  in  the  silver  discoveries  in  Hildesheim  (Havard). 

5.  Marble  candelabra  (Canina). 

7.  Roman  scales  (Dutuit). 

8.  Roman  satyr  (Baumeister). 

9.  Amulet  with  head  of  Mercury  (Dutuit). 

10.  Roman  sedan  chair  (Baumeister). 

11.  Portrait  of  Julia,  daughter  of  Titus  1 

12.  Portrait  of  Augustus  /   °"  Cameos,  found  in  Florence  (Libonis). 

13.  Clay  oil-lamps  (Libonis). 

14.  Bronze  toilet-vase  (Dutuit). 

15.  Roman  coins  1  As  (Baumeister). 

16.  19,  21.    Silver  forks  (Baumeister). 

17.  Vase  in  chased  silver  (Martha,  Manuel  d'archeologie  Etrusque  et  Romaine). 

18.  Bronze  from  Naples  showing  Hercules  fighting  with  the  snakes  (Baumeister). 
20.    Bronze  wine-jug  (Baumeister). 


Plate  43. 

Fig.    1,  7,  15.    Hair  pins  (Libonis). 

2.  Medallion  with  picture  of  Hercules  (Libonis). 

3.  Massive  gold  necklace  (Libonis). 
4—6,  10,  11.     Ear-rings  (Libonis). 

8.  Bronze  candelabrum  from  Naples  (Libonis). 

9.  Bronze  lamp  in  the  Louvre  (Libonis). 
„    12.    Terra-cotta  lamp  (Libonis). 

„  13,  14.     Rings  (Renard). 

„  16-18,  22.     Pins  (Renard). 

„  20.     Needle  (Renard). 

„  23.    Quiver  with  bow  (Renard). 

„  24.     Bronze  comb  in  the  Mayence  Museum  (Renard). 

„  25,     Head  of  Medusa  (Libonis). 

„  26,  27,  28.    Silver  vessels  discovered  in  Hildesheim  (Havard). 


Plate  44. 


Fig.   1.     Costume  of  a  Consul  from  the  later  period  (Baumeister). 

2,  6     A  Roman  helmet  found  in  Germany  (Baumeister). 

3,  Relief  from  the  Mayence  Museum  showing  a  rider  leading  his  horse  (Baumeister). 

4,  Bronze  ribbon  brooch  or  clasp  (Lindenschmitt). 


90 


ROMAN  ORNAMENT 


Fig.  5.  Iron  dagger-sheath  in  the  Mayence  Museum  (Baumeister). 

7.  Shield  (Renard(. 

8.  Bronze  tripod  from  Naples  (Libonis). 

9.  11,  12.    Roman  military  badges  (Raciner). 
10.  Ivovy  sword-pommel  (Baumeister). 

13.  Bas-relief  from  Puteoli,  showing  a  Trireme  (Baumeister). 

14.  Helmet  of  a  Centurion  (Libonis). 

15.  Marble  statue  of  Titus  In  State  armour,  In  the  Louvre  (Baumeister). 


Ancient  Chimaera  in  white  Marble,  Rome 

(Tatham). 


POMPEIAN  ORNAMENT. 


n  the  neighbourhood  of  Mount  Vesuvius  on  the 
Bay  of  Naples  stood  the  cities  of  Pompeii, 
Herculaneum  and  Stabia.  These  three  cities 
were  destroyed  by  an  eruption  of  Vesuvius  in 
the  year  79  A.  D.,  and  were  so  thoroughly  and 
completely  buried  that  for  centuries  no  trace  of 
where  they  stood  could  be  found.  Their  po- 
sition was,  however,  accidentally  discovered 
in  the  year  1748.  The  city  of  Pompeii 
became  subject  to  the  Romans  in  the  4*'^  cen- 
tury B.  C,  and,  having  been  thoroughly 
Romanised,  grew  to  be  the  favourite  summer  residence  of  the  wealthier  classes. 
The  characteristic  tendency  of  the  Romans  towards  luxury  soon  made  Pompeii 
a  special  centre,  Greek  artists  were  introduced,  style  was  given  to  classic  art, 
and,  finally,  a  special  Pompeian  Style  grew  into  existence.  The  small  arts  and 
work  in  metal  were  brought  to  a  very  high  state  of  perfection.  The  remains 
of  objects  of  this  class  at  present  preserved  in  the  museum  at  Naples,  more 
especially  those  vessels  found  in  the  silver  discoveries  in  Boscoreale,  are  extre- 
mely beautiful  and  worthy  of  the  highest  admiration. 

Peculiarly  characteristic  of  Pompeian  art  are  the  mural  paintings  and  the 
coloured  stucco  ornamentation.  Similar  work  might  of  course  have  also  existed 
in  other  Roman  cities,  all  traces  having  disappeared  in  the  course  of  time.  Four 
distinct  and  regularly  consecutive  periods  can  be  distinguished  in  these  mural 
paintings,  the  incrustation  style,  already  used  in  Hellenic-Oriental  art,  consisting 
of  imitations  of  many-coloured  marble  ashlar-work  combined  with  ornament 
worked  in  stucco.  After  this  came  the  pictorial  architectural  style  which  con- 
sisted in  exhibiting,  in   perspective,   on   smooth   surfaces,   paintings  of  fantastic 


92  POMPEIAN  ORNAMENT. 

architectural  pictures.  The  wall  was  divided  into  panels  in  free  ornamental 
style  and  decorated  with  small  figurative  centre  pictures.  The  type  which 
appears  to  have  been  in  most  general  use  was  the  prospect  style,  here,  the 
straight  wall,  was  so  changed  by  a  rich  play  of  delicate  stone  architecture  that 
the  chamber  had  the  appearance  of  being  larger  than  it  really  was.  These  types, 
as  far  as  their  collective  arrangement  goes,  show  decided  leaning  towards  Hellenic 
proto-types  from  Alexandria,  at  the  same  time,  however,  very  many  single  Or- 
naments show,  in  their  pure  naturalistic  style,  very  great  artistic  independence. 
Ahhough  the  al  fresco  mural  paintings,  which  were  coloured  by  simple  hand- 
workers, are  of  a  most  dazzling  brillancy  of  colour,  still,  the  gradations  are 
toned  off  so  regularly  and  legitimately  that  the  effect  of  the  whole  is  soothing 
and  pleasing  to  the  eye.  This  style  of  art  was,  in  all  probability,  well  known 
to  a  large  circle. 

It  is  impossible  to  form  an  exact  picture  of  Roman  life  in  any  Roman  city, 
but  this  is  more  especially  the  case  with  Pompeii  which  was  completely  over- 
whelmed in  one  night.  It  is  impossible  also  to  differentiate  exactly  Pompeian 
from  Rom  art,  for  it  is  highly  probable  that  many  objects  discovered  in  Pompeii 
were  manufactured  in  other  parts  of  the  Empire,  and  that  other  articles  disco- 
vered in  various  other  cities  had  their  origin  in  Pompeii. 


Plate  45. 

Fig.  1.    Column  from  the  house  of  the  Tragic  poet  in  Pompeii  (Uhde). 

„  2.    Mural  ornamentation  from  the  house  of  M.  Lucretius  in  Pompeii  (Uhde). 

„  3.    Mural  ornamentation  from  the  house  of  Modestus  in  Pompeii  (Uhde). 

„  4,  6.    Capitals  from  the  basilica  in  Pompeii  (Uhde). 

„  5, 7.    Pilastercapital,  and   column   from  the   house  of   the  Colours  in  Pompeii 

(Uhdi-)- 
„     8.    Capital  from  the  house  of  the  Faun  in  Pompeii  (Uhde). 
„     9.    Capital  of  column  Jrom  the  house  of  Actaeon  in  Pompeii  (Uhde). 
„    10.    Podium  from  the  tomb  of  Naevoleia  Tyche  in  Pompeii  (Uhde). 


Plate  46. 

Fig.  1.    Mosaic  from  Pompeii,  showing  a  theatrical  scene  (Libonis). 

2.  Mural  frescoes  from  Pompeii  (Reichhold). 

3.  6,  8.    Alosaic  floors  (d'Espouy). 

4.  Mural  fresco,  the  holy  marriage  of  Zeus  and  Hera  (Baumcister; 

5.  From  a  mural  fresco,  illustrating  Mediation  (Roux  nine). 
7.   Mural  fresco  with  theatrical  mask  (Baumeister). 


Plate  45. 


POMPEIAN  ORNAMENT. 


93 


■.  4l  .^[ .  I ,  ^'■^■ww*  !l  ■  I  ijjii  1 1*  1 1  ■  I  f,-<m*li-|j«ifl'tll>ii.'a  ;.■>.>«■<  iilh 


94 


POMPEIAN  ORNAMENT. 


Plate  46. 


yj^^^yrrr^^^r^^f* 


Plate  47. 


POMPEIAN  ORNAMENT. 


95 


96 


POMPEIAN  ORNAMENT. 


Plate  48. 


POMPEIAN  ORNAMENT. 


97 


Plate  47. 

Fig.  1.   Marble  table  from  the  house  of  Cornelius  Rufus  in  Pompeii  (BOhlmann,  die 

Bauformenlehre). 
2,  3,  4,  7.   Vessels  in  embossed  silver  from  the  discoveries  of  Boscorcale  (Libonis). 

5.  Bronze  table  in  the  Museum  at  Naples  (Buhlmann). 

6.  Bronze  candelabrum  (Libonis). 
8,  9,  10,  IG    Ornaments  (Liibke). 

11.  Bronze  figure  of  a  Triton  (Collection  Dutuit). 

12.  Lamp  (Collection  Dutuit). 

13.  Pompeian  glass  vase  (Libonis). 

14.  15,  17.    Bronze  tripods  (Lubke). 


Plate  48. 


Fig.  1—5,  9,  16,  20,  21.   From  Pompeian  mural  frescoes  (Roux  aind). 
.,     6,  7,  8,  10,  11,  18,  19.    Bronze  candelabra  (Mauch). 
„    12,  13,  15,  17.    From  Pompeian  mural  frescoes  (Reichhold). 
„    14.   Later  Sphinx  of  bronze  (Baumeistcr). 


Plate  49. 

Fig.  1—10.   Various  mural  frescoes  in  Pompeii  (Roux  ain6,  Herculanum  et  Pompeii). 


iJ|li.|1lflf|iJl|lJ|(llfllll||||l|ll!llilli'illll>1l|ii|||i|illl|||.'l^^ 


Figure  of  bronze  (Roux  ain6). 


SPELTZ,  Styles  of  Ornament. 


98 


POMPEIAN  ORNAMENT. 


Plate  49. 


CELTIC  ORNAMENT 
(FRANCE  AND  GERMANY) 


Prankish  Warrior 

(Hottenroth). 


oubts  no  longer  exist  as  to  the  fact  that  before  they 
came  into  contact  with  the  Romans,  the  Celts  and 
Germans  had  their  own  characteristic  national  art, 
even,  although  the  same  had  not  advanced  beyond 
the  bronze  and  iron  periods.  It  is  difficult  to 
strictly  separate  Celtic  from  Germanic  ornament, 
the  connections  between  the  two  races  were  so 
varied  and  so  intimate,  that  what  was  characteristic 
of  the  one  was  transplanted  to  the  other.  The 
Celts,  who  had  occupied  the  whole  of  Europe,  were 
after  a  time  driven  out  from  Germany  and  Austria 
by  the  Germans,  there  must  have  been  the'fefore 
ample  opportunity,  before  the  Romans  came  into  contact  with  the  Germans,  for 
Celtic  and  Germanic  art  to  exercise  mutual  and  abiding  influence  on  each  other. 
The  Romans  became,  afterwards,  the  instructors  of  both  in  ornamentation,  and 
under  the  influence  of  Roman  art,  Celtic  and  Germanic  art  came  closer  to  each 
other,  the  relationship  developing  into  a  most  intimate  connection  at  that  period 
when  the  Germans  held  possession  of  the  Western  Empire  of  the  Romans. 

After  the  fall  of  the  Roman  Empire,  Byzantine  influence  predominated,  and 
as  the  Roman  style  became  developed,  a  new  art  period  made  itself  manifest. 
Pure  Celtic  ornament,  far  purer  than  in  France,  existed  in  the  British  Islands 
up  into  the  12*''  century.  This  part  of  the  subject,  however,  is  dealt  with  in 
the  next  chapter,  although  it  would  be  perhaps  more  correct  chronologically 
to  refer  to  it  in  treating  of  the  art  of  the  Middle  Ages. 


100 


CELTIC  ORNAMENT. 


Plate  50. 


CELTIC  ORNAMENT. 


101 


Germanic   Ornament  was   entirely   confined  to  the    decoration    of  weapons 
and  useful  articles.     Nothing  was  known  of  architecture,  not  even  of  archi- 
tecture in  wood,  even  rites  and  ceremonies 
were  never  held  within  doors,   but  in  the 
open  air  under  a  tree. 

n  their  first  attempts  at  architecture,  which  were 
made  soon  after  the  introduction  of  Christia- 
nity, the  Celtic  artists  confined  themselves 
almost  entirely  to  the  building  of  wooden 
churches  and  oratories.  All  their  splendid 
triumphs  as  seen  in  the  development  of  the 
Celtic  Church  Architecture  were  achieved 
Gallic  Warrior  (Racinet).  a  few  centuries  later. 


Plate  50. 

Fig.  1,  and  3.   Breton  embroidery  from  Pont  I'Abbfi,  Finisterre  (Racinet). 
„     2.    Bronze  ornament,  found  in  Castel  near  Agen,  in  the  Cluny  Museum  (Racinet). 
„     4.    Bronze  buckle,  Cluny  Museum  (Racinet). 
„     5.   Belt-buckle,  Cluny  Museum  (Racinet). 
„     6.   Bronze  brooch,  Cluny  Museum  (Racinet). 
„     7.    Neck  ornament  of  bronze  (Racinet). 

„     8,  9,  and  10.   Belt  buckles  from  the  Merovingian  Period  (Racinet). 
„    11.    Bronze  fibula,  in  the  Louvre  (Racinet). 

„    12.    Bronze  fibula  from  the  Merovingian  Period,  Cluny  Museum  (Racinet). 
„    13.    Bronze  belt-buckles,  Cluny  Museum  (Racinet). 
„    14,  and  15.   Heads  of  Gallic  chieftains  from  the  time  of  the  Romans,  after  bronze 

medals  (Racinet). 
„    16.   Silver  brooch  from  GoldboroUgh  in  Yorkshire  (Racinet). 
„    17.   Remnant  of  a  reliquary   of   iron   with   bronze  and  silver  ornament  from 

Cashel,  Co.  Tipperary,  Ireland  (Racinet). 
„    18.    Brooch  with  granate  and  gold  filigree-work,  found  near  Abingdon  (Racinet). 
„    19,  and  20.   Bronze  fibulae  (Racinet). 

21.    Bronze  brooch  with  silver  ornamentation,  found  near  Lincoln  (Racinet). 
„   22.    Bracelet  from  Pont-Audemer  (Havard). 
„   23.    Bronze  brooch  found  in  the  churchyard  at  Blasion  (Havard). 

24.   Buckle  found  in  the  churchyard  at  Chisell-Down,  in  the  Isle  of  Wight  (Racinet). 
„   25.   Bracelet,  found  in  Reallon,  Hautes  Alpes  (Havard). 
„  26,  and  27.   Bracelets  from  Caranda  (Havard). 


102 


CELTIC  ORNAMENT. 


Plate  51. 


CELTIC  ORNAMENT.  103 

Plate  51. 

Fig.  1.  Prankish  weapons,  from  the  Museum  at  St.  Germain  (Barriere-Flany,  Les  Arts 
industrials  peubles  barbares  de  la  Gaule.  All  the  following  Figures  in  this  plate 
are  from  the  same  author). 

„     2.    Burgundian  ornament  from  Elisried  (Canton  Bern). 

„     3.    Necklet,  same  origin. 

„     4.    Neck  ornament  in  the  Museum  at  St.  Germain. 

„     5.    Burgundian  ornament  from  Delle  near  Belfort. 

„     6.    West  Gothic  buckle  from  Jean-Ie-Pouget,  in  the  Museum  at  Quny. 

„     7.    Burgundian  buckle  from  Fierier  near  Tonniges  (Haute  Savoie). 

„     8.     Prankish  glass  bottle  from  Achery-Magot  (Aisne). 
9.    Burgundian  clay  vessel  from  Tournus  (Saone  et  Loire). 

„    10.    Prankish  glass  dish  from  Anguilcourt-le-Sort  (Aisne). 

„    11.    West  Gothic  clay  vase  from  Herpes  (Charente). 

„    12.    Prankish  comb. 

13.    Burgundian    clay    vase   from    Charnay    (Saone   et   Loire)   in  the  Museum   at 
St.  Germain. 

„   14.    Anglo-Saxon  knife. 

„    15.    West-Gothic  buckle  from  Pigoret-Guzarques  (H^rault). 


Plate  52. 

The  Merovingian  Period. 


Fig.   1—5,  8—13,  15,  and  16.    Ornaments  (Havard). 
„     6.    Sword  of  the  Childerich  (Roger-Miles). 

7.    Cross  from  St.  Martin,  Limoges,  made  by  Saint  Eloi  (Havard). 
14.    Chair  of  Dagobert,  made  of  gilt  bronze  (Havard). 


Plate  53. 


Fig.   1,  and  2.     German  sword  in  the  Mayence  Museum  (Lindenschmitt,  Aus  der  heid- 
nischen  Vorzeit.    The  following  are  all  according  to  the  same  authority). 
3.    Silver  needle  from  the  Prankish  graves  near  Neuhofen. 
„     4.     Prankish  fibula. 

5.     Half-drawn  dagger  from  the  graves  at  Hallstadt. 
„     6.    Prankish  bracelet.  Museum  in  Mayence. 

7.  Bucket  with  bronze  mounts  and   iron  handles  from  the  Prankish  graves 
near  Monsheim,  in  the  Mayence  Museum. 

8.  Bucket  with  bronze  mounts  found  in  the  graves  on  the  Schiersteiner  Wege. 
Wiesbaden  Museum. 

„     9.    Ear-ring  from  the  graves  near  Worrstedt. 

„    10.    Dagger  from  Sprendlingen,  Rheinhessen. 

„    11.    German  ribbon  clasp,  Mayence  Museum. 

„    12.    Fibula  from  the  graves  near  Nordendorf. 

„    13.    Necklet  from  a  grave  in  Wurmlingen,  Wurttemberg. 


104 


CELTIC  ORNAMENT. 


Plate  52. 


Plate  53. 


CELTIC  ORNAMENT. 


105 


106 


CELTIC  ORNAMENT. 


Fig.  14.  Ear-ring  in  the  Wiesbaden  Museum. 

15.  Shoe  found  in  the  turf  moor  Friedeburg,  West  Friesland. 

16.  Prankish  belt-buckle,  Mayence  Museum. 

17.  Glass  vase  found  in  grave  near  Kreuznach. 

18.  Clay  vase  found  in  grave  near  Ulm. 

19.  Clay  vase  found  in  graves  at  Osthofen,  Mayence  Museum. 

20.  and  22.     Coffins  of  Gypsum. 

21.  Clay  urn  found  in  graves  near  Remingen. 
23.  Ring  from  the  Mayence  Museum. 


Hannover  Museum. 


Anglo-Saxon  Baptismal  Font 

(Muller  and  Mothes). 


CELTIC  ORNAMENT 
(GREAT  BRITAIN  AND  IRELAND). 


"::••■  rnamental  art,  such  as  was  developed  in  the  British 
,;;;:;  Isles,  but  more  especially  in  Ireland,  even  during 
:v:;:  the  sway  of  heathenism,  was,  without  any  doubt, 
a  pure  Celtic  art  of  its  own,  without  any  traces 
of  Byzantine  or  South  European  influences.  The 
very  same  ornamental  work  which  we  find  in  the 
old  heathen  stone  coffins  are  also  to  be  seen  in 
the  manuscript  paintings  of  the  Celtic  monks  of 
the  sixth  century.  Celtic  artists  show  a  most 
astonishing  and  extraordinary  skill  and  variety  in 
the  delineation  of  ornamental  tracery,  in  which  the 
bodies  of  birds,  dogs,  snakes  and  fantastic  animals 
are  most  skillfully  interwoven.  Vegetable  ornaments 
were  entirely  absent  in  the  earlier  specimens  of 
this  work,  appearing  first  in  the  9**^  century,  very 
probably  as  the  result  of  Roman  influence.  The 
very  great  similarity  existing  between  Scandinavian  and  Celtic  ornament  points 
to  a  very  close  connection  between  the  two  styles  of  art,  a  fact  which  is 
all  the  more  evident  when  we  remember  that  Christianity  was  introduced  into 
Norway  and  Sweden  by  Irish  missionaries. 


Initial  from  the  7th  century 

(Owen  Jones). 


108 


CELTIC  ORNAMENT. 


Plate  54. 


Plate  55. 


CELTIC  ORNAMENT. 


109 


no 


CELTIC  ORNAMENT. 


Plate  54. 

Fig.   1.    Manuscript  painting  from  the  lO^h  century  (Dolmetsch). 
„     2.    Initial  from  a  Psalter,   ll^h  century,   at  present  in  Trinity  College,  Dublin 
(Owen  Jones). 
3,  and  4.     Manuscript  paintings  from  the  10*^  century  (Owen  Jones). 

5.  The  Aberlemno  cross  (Owen  Jones). 

6.  Initial  from  the  7th  century  (Dolmetsch). 
7—11.    Manuscript  paintings  of  Celtic-Anglo-Saxon  origin  (Owen  Jones). 

12.  Ornament  from  base  of  cross  in  the  church  of  Eassie,  Angusshire  (Owen  Jones). 

13.  Ornament  from  base  of  cross  in  the  church  at  St.  Vigean,  Angusshire  (Owen 
Jones). 

14.  Ornament  from  base  of  cross  in  the  church  at  Meigle,  Angusshire  (Owen  Jones). 


Plate  55. 

Fig.   1,  3,  4,  and  8.    Specimes  of  manuscript  paintings  from  the  10*^  century  (Dolmetsch 

and  Owen  Jones). 
„     2.    Manuscript  paintings  from  the  11*^  century  (Dolmetsch). 
„     5,  6,  and  10.    Manuscript  paintings  from  the  8*h  century  (Dolmetsch). 
„     7.    Manuscript  painting  from  the  9th  century  (Dolmetsch). 
„     9.    Initial   from   the   Franco-Saxon    bible   at   St.  Denis,   from   the  9th  century 

(Owen  Jones). 
„    11 — 21.    Specimens    from    manuscript    paintings    of    Celtic -Anglo -Saxon    origin 

(Owen  Jones). 


Plate  56. 

Fig.   1—3.    Specimens  of  manuscript  paintings  from  the  7th  century  (Dolmetsch). 
„     4.    Manuscript  painting  from  an  Irish  Gospel  of  the  IQth  century.    The  border 
is  copied  from  the  Gospel  of  St.  Cuthbert  now  in  the  British  Museum,  and  known 
as  the  Book  of  Durham,  a  book  which  was  written  between  the  years  698  and  720. 
(Henry  Shaw,  Mediaeval  Alphabets  and  Devices.) 


From  an  Irish  Spelling-Book  fMothes  and  Miiller). 


Plate  56 


CELTIC  ORNAMENT. 


Ill 


'.\^^y/^^^yA\\ 


I 


ODMNNO 


I 


MUy  K  Y 


i 


!;•>? 


inrrt 


112 


Roman  Marble  Vase  (Piranesi). 


Window  from  Monastery  St.  Juan  de  los  Reyes,  Toledo  (Monumentos  de  Espafia). 

SPELTZ,  Styles  of  Ornament.  -  8 


EARLY  CHRISTIAN  ORNAMENT. 


From  a 
Carolinglan  Gospel 
in  the  British 
Museum 

(MUller  and  Mothes). 


radually,  as  the  political  supremacy  of  a  country  begins  to 
decline,  Art  in  that  country  begins  also  to  decay.  The 
decline  of  classic  art  was  the  natural  consequence  of  the 
political  weakness  and  final  decay  of  the  Western  Roman 
Empire,  as  well  as  of  the  decisive  victory  which  Christianity 
finally  obtained  over  Heathenism,  In  all  the  old  historic 
styles  there  exists  an  intimate  connection  between  religion 
and  art.  Art  developed  under  the  aegis  of  religion  and  was 
so  strongly  influenced  by  it  that  a  style  of  art  produced 
under  the  influence  of  a  certain  religion  could  never  har- 
monise with  any  other  religion  except  that  from  which  it  sprung.  When,  there- 
fore, Christianity  received  into  its  hands  the  remains  of  classic  art,  it  was  obliged 
to  change  and  harmonise  them  into  a  style  in  unison  with  Christian  ideas,  tastes, 
and  necessities,  without  a  the  same  time  entirely  freeing  itself  from  classic  in- 
fluences. On  the  ruins,  therefore,  of  the  Western  Roman  empire,  the  Christian 
States  erected  a  new  civilisation  changing  everything  they  found  to  fit  the  new 
condition  of  affairs,  and  making  use  of  the  peculiar  elements  of  Byzantine  art, 
then  in  its  full  glory  to  form  a  new  style  of  art  of  its  own.  The  Byzantine 
influence  was  so  powerful  at  that  time,  that  it  is  often  a  matter  of  real  diffi- 
culty for  the  art  historian  to  say  whether  certain  works  of  art  belong  to  the 
Early  Christian  or  to  the  Byzantine  style.  The  antiquities  discovered  in  the 
ancient  city  of  Ravenna  show  most  remarkable  traces  of  Byzantine  influences. 
Early  Christian  art  may  be  regarded  as  a  period  of  transition  the  tendency 
of  which  was  to  free  itself  alike  from  Classic  and  Byzantine  influence.  It  was 
only  when  this  latter  influence  had  been  entirely  overcome,  when,  about  the 
year  900  A.  D.,  the  Romanesque  style  of  architecture  began  to  develop  itself, 
that  art  began  again  to  move  along  secure  lines. 


EARLY  CHRISTIAN  ORNAMENT. 


115 


The  attempts  to  change  classic  art  into  forms  more  suitable  to  Christianity 
were,  however,  not  confined  to  the  Western  Roman  empire.  Attempts  in  this 
direction  were  also  made  in  Asia  Minor,  but  were  finally  rendered  unavailing 
by  the  spread  of  Islamism. 

Before  their  contact  with  the  Romans,  the  art  of  the  Celts,  if  we  exclude 
Architecture  and  Sculpture,  even  though  primitive,  was  still  a  thoroughly  charac- 
teristic, peculiar  one.  The  Eastern  Goths,  who  ruled  Italy  from  493  to  555, 
but  who  soon  lost  their  peculiar  individuality,  did  not  cherish  this  style  of  art 
as  the  Lombards  did.  These  latter,  who  settled  in  Northern  Italy  under  Alboin 
in  the  year  568,  preserved  it  carefully,  and  to  such  an  extent  that  it  actually 
exercised  a  very  remarkable  influence  on  the  development  of  Italo-Romanesque  art. 


Mural  painting  from  the  Coemeterium  Majus,  Rome 

(Wilpert,  Malereien  der  Katakomben  Roms). 


3» 


116 


EARLY  CHRISTIAN  ORNAMENT. 


Plate  57. 


, — '"'^  ■.:x::.:rrt'  ^»^„7;:;;TiTr," — -^zt^ — - •■'-•"'li'vr;^"'-™ 


Plate  58. 


EARLY  CHRISTIAN  ORNAMENT. 


117 


118 


EARLY  CHRISTIAN  ORNAMENT. 


Plate  57. 

Lombardo-Byzantine  Ornament  in  Italy. 
(E.  A.  Stiickelberg,  Longobardische  Plastik.) 

Fig.  1.   Circular  pattern  braided  work  from  Ventimiglia. 
„     2.    Diamond  pattern  braided  work  from  Ravenna. 
„     3.    Bottom  of  a  basked  from  Rome. 
„     4.   Relief  from  Ventimiglia. 
„     5,  and  13.   Interlaced  work  from  Milan. 
„     6.   Relief  from  Spalato. 
„     7.    Interlaced  work  from  Como. 
„     8.   Processional  Crucifix  from  Milan. 
„     9.   Interlaced  work  from  Valeria. 

,,  10.    Lattice  work  from  Milan. 

„  11.   Church  altarscreen  from  Aquileja. 

„  12.   Relief  from  altar  in  Orvieto. 


Plate  58. 

Lombardo-Byzantine  Ornament  in  Italy. 
(After  Professor  Karl  Mohrmann  and  Dr.  Eugen  Ferd.  Eichwede,  Germanische  Friihkunst.) 

Fig.  1,  2,  and  5.   Capitals  from  the  church  of  S.  Ambrogio,  Milan. 

„  3.   Fountain,  in  the  Museum  at  Venice. 

„  4.   From  a  balustrade  in  the  cathedral  at  Aquileja. 

„  6—8.   Portals  from  the  church  of  S.  Ambrogio,  Milan. 

„  9.   Capital  of  column  from  the  church  of  S.  Ambrogio,  Milan. 


V_ 


1^ 


Crucifix  in  the  Museum  at  Ravenna  (Dehli). 


Plate  59. 


EARLY  CHRISTIAN  ORNAMENT. 


119 


120 


EARLY  CHRISTIAN  ORNAMENT. 


Plate  60. 


^J(n\  MM  M  M // 


ll'— ..-"-V  'V'-'  :-'i^''*~-^^-^M^.. 


Plate  61. 


EARLY  CHRISTIAN  ORNAMENT. 


121 


^5# 

W0^ 

^^^'i^^-' 

'^^W 


122  EARLY  CHRISTIAN  ORNAMENT. 

Plate  59. 

Visigothic  Ornament  in  Spain. 

(After  Monumentos  de  Espana.) 

Fig.  1.  Cross  from  the  crown  of  Receswint. 

„  2.  Crown  of  Suinthila. 

„  3.  Votive  crown. 

„  4.  Votive  cross. 

„  5.  Arm  of  a  processional  crucifix. 


Plate  60. 


Italo-Byzantine  Ornament  in  Italy. 

Fig.   1.     Frieze  from  the  church  at  Dana  in  Syria  (VogUe,  La  Syrie  Centrale). 
„     2.    Capital  from  the  church  of  St.  Apollinare  Nuovo,  Ravenna  (Dehli). 
„      3,  4,  and  5.     Capitals   from   the  church   of  St.  Vitale   in   Ravenna.     The   church 

of  St.  Vitale  in  Ravenna  was  founded  by  the  treasurer  Julianus  Argentarius  being 
moved  thereto  be  the  exhortations  of  Bishop  Ecclesius  (524 — 534  after  Christ).  The 
strongly  marked  Byzantine  character  of  this  church  is  easily  explained  when  it  is 
remembered  that  very  intimate  relations  existed  at  that  time  between  Ravenna  and 
Byzantium  (Dehli). 

„     6.    Marble  panel  from  Ravenna  (Bilderatlas). 

„  7.  Monogram  of  Christ  in  a  sarcophagus  in  the  church  of  St.  Apollinare-in- 
Classe,  Ravenna  (Dehli,  Selections  of  Byzantine  Ornament). 


Plate  61. 

Frankish  Ornament. 

Fig.   1.     Gospel  of  Charles  the  Bald  in  the  National  Library  in  Paris  (Havard). 
„      2.     Sword  of  Charlemagne  in  the  Imperial  Treasury  in  Vienna  (Havard). 
„      3.     Chair  of  the  statue  of  St.  Foy  in  tfie  treasury  at  Conques  (Havard). 
„     4.    Gold   crucifix,  presented   to    the   monastery   of  St.   Denis   by   Charles   the 

Bald  (Havard). 
„      5.     Crown  of  Charlemagne  in  the  Imperial  Treasury  in  Vienna  (Havard). 
„      6,    Crown  of  the  statue  of  St.  Foy  in  the  treasury  at  Conques  (Havard). 
„     7.     Reliquary  medallion   of  Charlemagne  in   the  monastery  at  Aix-la-Chapelle 

(Havard). 
„     8.    Throned  Christ  from  a  gospel  of  Charlemagne  (Miilier  and  Mothes). 
„     9.     Hunting  horn  of  Charlemagne  in  Aix-la-Chapelle  (Miilier  and  Mothes). 
„    10.    Madonna  from  the  catacomb  of  St.  Calixtus  in  Rome  (Muller  and  Mothes). 


Plate  62. 


Fig.   1.     Diptych   from  the  6*^  century,  supposed  to  be  the  Cathedral  of  Maxentius 
(Libonisj. 
„     2.    Sarcophagus  of  the  Exarch  Isaac,  representing  the  adoration  of  the  Three 
Magi  (Libonis). 


Plate  62. 


EARLY  CHRISTIAN  ORNAMENT. 


123 


M\^^\  l^Q:^IWl£AsJWW^£iW^ 


124 


EARLY  CHRISTIAN  ORNAMENT. 


Fig.  3.    Ambo  in  Salonica  (Gagarin,  Russische  Ornamente). 
„     4.    Bookcase  in  church  in  Ravenna  (Havard). 
„     5.    Chalice,   presented  to  the   monastery  of  Kremsmiinster  in  780  by  Duke  Tassilo 

(Miilier  and  Mothes). 
„     6.    Reading  desk  of  St.  Adelgundi  (Libonis). 
„      7,  and  8.    Sarcophagi  in  Ravenna  (D'Espouy). 

„     9.    Mosaic  flooring  from  the  church  of  St.  Vitale  in  Ravenna  (D'Espouy). 
„    10.   The  Empress  Theodora  and  her  suite.    Mosaic  from  the  church  of  St.  Vitale, 

Ravenna  (Libonis). 


Altar  in  the  Museum  at  Ravenna  (Dehli). 


BYZANTINE  ORNAMENT. 


yzantine  is  the  title  given  to  that  conglomerate  style 
of  art  which  was  developed  in  the  Eastern 
Roman  Empire  from  all  the  different  styles 
which  were  in  existence  at  that  early  period. 
The  first  impulse  to  the  development  of  a 
Byzantine  style  was  given  in  the  year  330  A.  D., 
when  Byzantium  or  Constantinople  became 
the  seat  of  the  royal  residence  of  the  emperor 
Constantine,  and  when  Christianity  was  made 
the  established  state  religion.  Byzantine  Art 
may  be  said  to  have  reached  its  highest 
standard  in  the  6**^  century  when  it  spread 
throughout  the  whole  Empire  and  extended  to 
North  Africa. 

Its  influence  however  was  not  confined  to 
those  regions  for  already  in  the  same  century 
it  had  reached  as  far  north  and  west  as  Scot- 
land and  Ireland,  in  which  countries  it  is  found  intermingled  with  Celtic  Art. 
It  also  penetraded  through  the  Balkan  States  and  Italy,  and,  from  the  9'^  century 
when  under  the  influence  of  the  Macedonian  Empire,  it  took  fresh  life,  down 
to  the  middle  of  the  1 2**^  century,  it  permeated  the  ornament  of  all  the  Romanesque 
Styles  of  Europe,  whilst  even  in  Constantinople  when  taken  by  the  Turks,  in 
1453,  the  Church  of  Sancta  Sophia  became  the  model  on  which  all  the  Turkish 
Mosques  were  based,  so  far  as  their  main  features  are  concerned. 


Initial  from  a  breviary 
in  the  Mazarin  Library 

(Libonis). 


126 


BYZANTINE  ORNAMENT. 


Plate  63. 


Plate  64 


128  BYZANTINE  ORNAMENT. 

It  was  in  fact  the  political  influence  which  the  Byzantine  Empire  enjoyed 
during  the  period  of  its  supremacy,  together  with  the  low  standard  of  civilization 
existing  at  that  period  in  the  Christian  States  of  the  West,  which  caused  the 
new  Christian  Art,  whose  development  had  already  commenced,  to  be  strongly 
influenced  by  the  Byzantine  Style,  more  especially  in  its  ornament. 


Plate  63. 

Fig.   1.    Arch  and  column  of  the  lowergallery  in  the  church  of  St.  Sophia,  Constantinople. 

(Salzenberg,  Altchristliche  Baudenkmale  von  Konstantinopel.)  This  church,  erected 
in  place  of  a  basilica  destroyed  by  fire,  was  built  under  Justinian  in  the  years  532 — 537, 
after  plans  designed  by  Anthemios  of  Tralles  assisted  by  Isidorus  of  Miletus.  The 
church  has  been  used  as  a  mosque  since  1453. 

„  2—4.  Details  from  the  fatade  of  the  church  of  St.  Marks  in  Venice  (Gagarin). 
The  church  of  St.  Marks,  although  a  prototype  of  Romanesque  architecture,  contains 
many  features  peculiar  to  Byzantine  art.  Though  founded  about  830  A.  D.  the  five 
domes  were  not  commenced  till  1063  A.  D.  and  the  sumptuous  marble  decoration 
not  completed  till  two  centuries  later. 
5.    Bronze  door  in  the  church  of  St.  Marks,  Venice  (Gagarin). 

„     6.    Arch  and  capital  in  the  baptistery  of  the  church  of  St.  Marks,  Venice  (Gagarin). 
7,  8.    Capitals  in  the  church  of  St.  Marks,  Venice  (Gagarin). 


Plate  64. 

Fig.  1.    Arch  from  a  gallery  in  the  church  of  St.  Sophia,  Constantinople,  from  the 

6th  century  (Gagarin). 
„     2,  3.    Bronze  knockers  from  the  door   of  St.  Marks,  Venice  (Dehli,  Byzantine 

Ornament). 
„     4.    Capital  from  the  church  of  St.  Marks  in  Venice  (Dehli). 
,,     5—10.    Capitals  from  the  church  of  St.  Marks  in  Venice  (Gagarin). 


Plate  65. 

After  Dehli,  Selections  of  Byzantine  Ornnmcnt. 

Fig.   1.  Stone  panel  from  the  Atrium  of  St.  Marks  in  Venice. 

2.  Baptismal  Font  in  the  Vendramin  palace,  Venice. 

3.  Sarcophagus  from  the  church  of  St.  Antonio,  Padua. 

4.  Relief  from  the  church  of  St.  Pietro  in  Verona. 

5.  From  transept  of  St.  Marks,  Venice. 

6.  Frieze  over  door  of  the  Zeno  Chapel  in  St.  Marks,  Venice. 


Plate  65. 


BYZANTINE  ORNAMENT. 


129 


SPELTZ,  Styles  of  Ornament. 


130 


BYZANTINE  ORNAMENT. 


Plate  66. 


f    •  -^         ■  r,;*  P  '   ♦,  .1--* 


Plate  67. 


BYZANTINE  ORNAMENT. 


131 


3. 


m^ff^^^^ 


1^^y»i>fe-J^T3^^^^I^2a^^^^^^3aa28^iaaMi^^ 


132  BYZANTINE  ORNAMENT. 

Plate  66. 

Fig.  1.    Gold  ring  from  the  collection  of  RoUin  and  Bourdent  (Libonis). 
„     2.    Border  of  a  manuscript  of  the  10"!  century  (Libonis). 
„     3.   Stone  panel  in  the  gallery  of  the  church  of  St.  Marks,  Venice  (Dehli). 
„     4,    Ivory  Bookcover  in  the  South  Kensington  Museum  (Libonis). 

5.   Marble  mosaic  (Libonis). 
„     6.    Mosaic  panelling  in  the  triforium  of  the  church  of  St.  Sophia,  Constantinople 

(Bilderatlas  zur  Geschichte  der  Baukunst). 
„     7—9.   Marble  mosaics  from  the  church  of  St.  Marks  in  Venice  (Dehli). 
„    10.    Letters  from  a  manuscript  (Libonis). 
„    11.   Stone  relief  from  the  church  of  St.  Sergius  in  Constantinople  (Krauth  und 

Meyer,  Steinhauerbuch). 


Plate  67. 

Fig.  1.    Well  head  from  Venice,  now  in  the  South  Kensington  Museum  (Dehli) 
„     2,   Cover  of  an  ivory  reliquary  in  the  South  Kensington  Museum  showing  John 

the  Baptist  between  Saints  Philip,  Stephen,  Thomas,  and  Andrew  (Libonis). 
„     3.    Byzantine  ivory  coffer. 
„     4.    Cover  of  book  of  the  four  gospels  owned  by  St.  John  of  Besan^on,  showing 

the  crowning  of  Romanus  IV  and  Eudoxia.    Dates  from  the  llth  century,  at  present 

in  the  National  Library,  Paris  (Libonis). 
„     5.   Byzantine  miniature-painting  (Libonis). 
„     6.   Leaf  of  a  diptych  in  the  British  Museum  showing  Michael  the   Archangel 

(Libonis). 


Plate  68. 

Fig.  1—6,  8—10.   Miniature  paintings  from  manuscripts  in  the  National  Library,  Paris 

(Gagarin). 
,,     7.    Lectern,  from  a  manuscript  in  the  National  Library,  Paris  (Gagarin). 
„    11.    Byzantine  crown  (Hottenroth,  Trachten). 
„    12—15.    Byzantine  coiffures  (Hottenroth). 
„    16.    Reliquary  (Hottenroth). 
„    17.  Chalice  (Hottenroth). 
„    18,  19,  20.  Arm  chairs  (Hottenroth). 
„   21.    Consular  chair  of  state. 


Plate  69. 

Byzantine  Ornament  in  Spain. 
(After  Monumentos  de  Espana.) 

Fig.  1.   Ruins  of  the  ancient  cloister  of  San  Roman  in  Hornija. 
„     2.    Capital  from  the  same  cloister. 
„     3.    Fragment  of  parapet,  preserved  in  the  cathedral  of  Cordova. 


Plate  68. 


BYZANTINE  ORNAMENT. 


133 


134 


BYZANTINE  ORNAMENT. 


Plate  69. 


S-'^"'o-WEBBB".V,is;ig'RrB- 


H^^^^^^e 


}lD?P.'^>i':'lfflC!g5.;,Q';-B^'s 


\Sim}^m^^^-jJd 


mmmmM^^m 


mi ' 


Plate  70. 


BYZANTINE  ORNAMENT. 


135 


f^  v. 


1^;! 


5^ 


(M/ 


\ 


\^ 


i 

4. 

L^^^i^l^M 

^^r^fv^^ 


'i: 


136 


BYZANTINE  ORNAMENT. 


Fig.  4.    Outer  cornice  of  the  Camara  Santa  In  the  Cathedral  of  Oviedo. 
„     5—7,  and  13.    Window  from  the  church  of  San  Salvator  in  Valdedios.    Concejo 

de  Villa  Viciosa. 
„     8,  and  12.    Capitals  from  the  hermitage  of  Santa  Christina  in  Lena,  Oviedo. 
„     9.     Medallion  from  the  same  church. 
„    10.    Pulpit  parapet  from  the  same  church. 
„    11,  14 — 16.    Capitals  from  the  church  of  San  Salvator  in  Valvedios. 


Plate  70. 

Byzantine  Ornament  in  Spain. 
(After  Monumentos  de  Espafla.) 

Fig.  1,  and  3.    Fragments  from  a  building  —  called  the  Cisterna  —  in  M6rida. 

„  2.    Fragment  from  the  Basilica  in  Cordova. 

„  4.    Enamelled  work  from  a  reliquary  in  the  cloister  of  San  Domingos  de  Silos. 

„  5,  and  6.    Pillar  from  the  transept  of  the  Church  of  St.  Miguel  de  Lino,  Oviedo. 


.ff    .  V  .  V    .  V  ..  *^  .  'a' 


i_* S S =^    A    A 


•»I*X*I*I»I*I»I»I*^ 


Decorative  Frieze  (Libonis). 


ROMANESQUE  ORNAMENT. 


0  soon  as  Charlemagne  had  succeeded  to  a  certain 
extent  in  consolidating  his  empire,  he  selected  Aix- 
la-Chapelle  as  his  place  of  residence,  and  called 
around  him  in  that  city  artists  of  all  kinds  both 
from  the  former  Western  as  well  as  from  the 
Eastern  Roman  empires.  These  artists  were  en- 
gaged in  decorating  and  adorning  his  palaces,  and 
it  was  here  that  a  new  style,  the  Romanesque 
style,  based  upon  classic  architecture,  and  very 
strongly  influenced  by  Byzantine  art,  which  stood 
then  at  its  highest  glory  slowly  developed  itself. 
At  first,  after  the  death  of  Charlemagne,  art  could 
not  make  much  progress  in  the  empire,  a  circum- 
stance due  to  the  fact  that  Charlemagne's  successor 
was  an  incapable  ruler  under  whose  dominion  the 
and  lay  diseased  and  dormant,  awaiting  with  dulled  apathy  the  end  of  all  things. 
It  was  not  until  the  year  1000  had  come  that  new  life  began  to  be  again 
manifest,  and  later  on  when  the  religious  zeal  was  stirred  up  by  the  Crusades 
that  some  really  great  and  genuine  works  of  art  were  produced.  The  Romanes- 
que style  of  architecture,  whose  earliest  architects  were  priests  and  monks,  the 
lay  element  being  introduced  later  on,  is  a  genuine  Orthodox  style.  In  the  be- 
ginning this  style  was  heavy,  but  it  soon  developed,  and  reached  its  highest 
standard  in  the  12*^  and  13**^  centuries.  The  aftergrowths  of  the  Romanesque 
style  in  Germany  were  produced  by  a  combination  of  the  same  with  the  Gothic, 
a  style  which  came  in  from  France,  resulting  in  the  pointedarch  style  which 
sprung  into  existence.  The  Romanesque  style  itself  spread  rapidly  into  all 
those  countries  which  were  included  in  the  former  Western  Roman  empire,  its 
character  becoming  changed  in  accordance  with  the  character  of  the  inhabitants 


}^'&!'      Initial  from  a 
German  Xll^h  century 
manuscript  (Dolmetsch). 


138 


GERMAN  ROMANESQUE  ORNAMENT. 


Plate  71. 


GERMAN  ROMANESQUE  ORNAMENT.  I39 

of  each  particular  country.  In  France  Spain  and  England  the  Romanesque  style 
developed  into  the  Gothic,  and  some  time  afterwards,  towards  the  middle  of 
the  IS*''  century,  Germany,  following  the  example  of  France  and  using  the 
French  Gothic  as  a  standard,  began  also  gradually  to  develop,  the  Gothic  style 
of  architecture. 


Romanesque  Ornament  in  Germany. 
Plate  71. 

(Heideloff,  Ornamentik  des  Mittel alters.) 

Fig.  1.    Keystone  of  a  vault  in  the  church  of  St.  Sebald,  Nuremberg. 
„     2,  and  3.    Arch  frieze  with  consol  from  the  same  church. 
„     4,  and  7.    Bases  of  columns,  from  the  convent  church  in  Heilbrunn,  Bavaria. 
„     5.    Capital  from  the  church  of  St.  Sebald,  Nuremberg. 
„     6.    View  and  ground  plan  of  large  column  in  the  vestibule  of  the  cathedral  in 

Schwabisch-Hall. 
„     8.    Shaft  of  column  from  the  portal  of  the  Burggraf  Chapel  in  the  Augustinian 

Cloister,  Esslingen. 
„     9.    Capital  from  the  same  church. 
„    10.    Capital  from  the  Benedictine  Abbey  in  Murrhard. 
„    11.    Capital  from  the  convent  church  in  Faurudan  near  GOppingen. 
„    12.    Cornice  on  the  tower  of  St.  John's  church  in  Schwabisch-Gmiind. 


Plate  72. 

Fig.  1.  Abacus  from  ihe  church  of  St.  Michel  in  Hildesheim,  12th  century  (Raguenet, 
Materiaux  et  documents).  This  church,  which  was  begun  by  Bishop  Bernward  of 
Hildesheim  in  the  year  1001,  and  completed  in  the  year  1033,  marks  the  transition 
from  the  Early  to  the  Late  Romanesque  Style. 

2.  Abacus  from  the  church  of  Marmoutiers  in  Alsace  (Raguenet). 

3.  Capital  from  Rosheim  near  Strassburg,  dating  from  the  11th  century  (Raguenet). 

4.  Stone  cross  in  the  market-place  at  Treves  (Raguenet). 

5.  Capital  and  base  from  Eger  (Gruber,  Kaiserburg  in  Eger). 

6.  Capital  from  the  cathedral  in  Limburg  (Opderbecke,  Bauformen).  This  church 
was  built  by  Konrad  II  in  the  years  1030 — 1042,  and  dedicated  in  1046  in  the  reign  of 
Henry  III.  The  building  operations  were  conducted  by  the  Cluniac  Abbot  Poppo 
von  Stoblo. 

7.  Signature  tablet  from  the  !!*•>  century  (Muller  and  Mothes). 

8.  Door-knocker  in  the  cathedral  at  Aix-la-Chapelle  from  the  S^h  century 
(Raguenet). 

9—12.    Mural  paintings  from  the  cathedral  in  Brunswick  (Gailhabaud  I'architecture). 
13.    Frieze  from  Mary's  Chapel  in  the  cathedral  in  Gandersheim  (Raguenet). 


140 


GERMAN  ROMANESQUE  ORNAMENT. 


Plate  72. 


Plate  73. 


GERMAN  ROMANESQUE  ORNAMENT. 


141 


142 


GERMAN  ROMANESQUE  ORNAMENT. 


Plate  74. 


GERMAN  ROMANESQUE  ORNAMENT.  143 

Plate  73. 

Fig.  1.    Frieze  from  the  Burg  at  Munzenberg  in  Hesien  (Opderbecke,  Bauformen  des 
Mittelalters). 

2.  Frieze  from  the  church  in  Denkendorf,  12th  century  (Lubke). 

3.  From  a  stall  in  the  cathedral  at  Ratzeburg  (Joseph). 

4.  Ornamentation  on  shaft  of  a  column  from  Buchenberg  near  Goslar,  12th  century 
(Opderbecke). 

5.  Capital  from  the  church  in  Brenz,  Wurttemberg,  12th  century  (Opderbecke). 

6.  Base  from  the  abbey  church  in  Laach,  12th  century  (Opderbecke). 

7.  Archivolte  from  the  doorway  of  Worms  cathedral,  12th  century  (Opderbecke). 

8.  Capital   from   the   Scottish   church   of   St.  Jacob   in   Ratisbon,    12th   century 
(Opderbecke). 

9.  Window  from  the  church  at  Laach  (Opderbecke). 

10.  Window-column  from  the  cathedral  at  Worms,  12th  century  (Opderbecke). 

11.  and  14.    Doorway  from  the  church  at  Gelnhausen,  12th  century  (Opderbecke). 

12.  Tympanum  from  St.  Michael's  Church  in  Schwabisch-Hall,  12th  century  (Opder- 
becke). 

13.  Base  from  the  church  at  Arnsberg,  12th  century  (Opderbecke). 


Plate  74. 

Fig.   1.     Throne  of  Emperor  Henry  II,  after  a  miniature  in  the  monarch's  own  Book  of 

Gospels  which  is  at  present  in  the  Court  Library  in  Munich  (Miiller  and  Mothes). 
„     2.    Flagon  in  the  Royal  Imperial  Numismatic  Cabinet   in  Vienna  (Miiller  and 

Mothes). 
„     3.     Comb  of  Henry  I  (Hefener-Alteneck,  Trachten). 
„     4.    Wrought-iron  candlestick  (Hottenroth). 

„     5.    Seven-branched  candlestick  in  Brunswick  cathedral  (Muller  and  Mothes). 
„     6.    Bronze  candlestick  (Hottenroth). 

„     7.    Bishop's  crozier  from  the  Church  Treasuries  in  Deutz  (Miiller  and  Mothes). 
„     8.    Two-handled  chalice  from  the  Marienstern  Cloister  in  Saxony  (Muller  and 

Mothes). 
„     9.    Candelabrum  from  the  cathedral  in  Aix-la-Chapelle  (Hottenroth). 
„    10.    Reliquary  of  oak  with  gilt  reliefs  in  lead,  dates  from  the  year  1300,  at  present 

in  the  Nuremberg  Museum. 
„    11.    Glass  painting  from  12th  century  in  Neuweiler,  Alsace  (MUller  and  Mothes). 


Plate  75. 

Fig.  1.  Wooden  coffer,  10th  century  (Hottenroth). 

2.  Initials  from  the  time  of  Joseph  XIII  (Muller  and  Mothes). 

3.  Candlestick,  12th  century  (Hottenroth), 

4.  Bishop's  crozier,  11th  century  (Hottenroth). 

5.  Chalice,  11th  century  (Hottenroth). 

6.  Fragment  of  a  small  crystal  bottle,  IQth  century  (Hottenroth). 

7.  Initials  from  the  Bremer  Gospel,  from  the  year  1050  (Mailer  and  Mothes). 

8.  Thurible  of  gilt  copper,  12th  century  (Miiller  and  Mothes). 


144 


GERMAN  ROMANESQUE  ORNAMENT. 


Plate  75. 


Plate  76. 


GERMAN  ROMANESQUE  ORNAMENT. 


145 


SPELTZ,  Styles  of  Ornament. 


10 


146 


GERMAN  ROAIANESQUE  ORNAMENT. 


Plate  77. 


GERMAN  ROMANESQUE  ORNAMENT.  147 

Fig.  9.  Writing-desk,  after  a  manuscript  in  tlie  National  Library  at  Paris  (Gagarin). 

10.  Bronze  church  lamp,  11^^  century  (MflUer  and  Mothes). 

11.  Stool  (Hottenroth). 

12.  and  13.    Beds,  12th  century  (Hottenroth). 

14.  Fighting  warrior,  13th  century  (Hottenroth). 

15.  Cup  (Hottenroth). 

16.  Bishop's  chair  (Hottenroth). 

17.  Imperial  shoe  (Hottenroth). 

18.  Clasp  of  Imperial  mantle  (Hottenroth). 

19.  Sprinkler  (Hottenroth). 

20.  Cover  of  the  prayer-book  of  St.  Elizabeth  (Muller  and  Mothes). 

21.  Bed,  12th  century  (Muller  and  Mothes). 


Plate  76. 

North-German  Brickwork. 
(After  Stiehl,  Backsteinbau  romanischer  Zeit.) 

The  Romanesque  style  of  brick  architecture  was  introduced  into  the  Altmark,  at  Jerichow, 
and  into  ^parts  of  Mecklenburg,  Holstein,  and  Pomerania,  during  that  period  of  time  when 
these  Wendic  lands  were  being  germanised.  These  districts  being  poor  in  stone  and  very 
rich  in  clay,  necessitated  the  employment  of  burnt  bricks.  The  origin  of  brick  architecture 
has  been  traced  to  Lombardy  by  Herr  O.  Stiehl,  Government  architect,  who  carried  out  a 
series  of  careful  and  searching  inquiries  into  this  question  (O.  Stiehl,  Der  Backsteinbau  romanischer 
Zeit,  besonders  in  Oberitalien  und  Norddeutschland).  From  Lombardy  it  was  introduced  into  the 
Wendic  districts  by  missionaries.  As  the  Romanesque  style  of  architecture  was  the  prevalent 
one  at  that  period,  the  brickwork  was  constructed  in  accordance  with  it. 
Fig.   1—3.    Capitals  from  the  convent  church  at  Arendsee. 

„     4.    Capital  from  the  church  at  Jerichow. 

„     5.    Capital  from  the  church  of  St.  Maria  auf  deni  Damme  at  JQterbog. 

„     6—8.    Arched  doorway  and  capitals  from  the  church  of  St.  Nicolas  In  Treuen- 
brietzen. 

„     9.    Capital  from  the  cathedral  at  Brandenburg. 

„    10.    Capital  from  the  church  at  Gadebusch. 

„    11.    Arched  Corbel  Table  from  the  church  at  Mdlln. 

„    12.    Rib  mouldings  from  the  convent  church  at  Dobrilugk. 

„    13,  and  14.    Bases  of  piers  from  the  cathedral  at  Ratzeburg. 

„    15,  and  16.    Compound  piers  from  the  church  at  Altenkrempe. 

„    17.    Window  from  the  village  church  at  Grofimangelsdorf. 

„    18.    Capital  from  the  convent  church  at  Dobrilugk. 


Plate  77. 

German  Enamel  Work  in  the  Middle  Ages. 
(After  V.  Falke  and  Frauberger,  Deutsche  Schmelzarbeiten  des  Mittelalters.) 

The  Historic  Art  Exhibition  held  in  Dusseldorf  in  the  year  1902  contained  a  most  beau- 
tiful and  unequalled  collection  of  German  Enamel-Work  from  the  Romanesque  Art-epoch.  The 
different  works  of  art  contained  in  this  collection  have  since  been  reproduced  by  Otto  von 

10* 


148 


GERMAN  ROMANESQUE  ORNAMENT. 


Falke  and  Heinrich  Frauberger  in  their  beautifully  illustrated  work  ..Deutsche  Schmelzarbeiten 
des  Mittelalters".  There  can  be  hardly  any  doubt  but  that  the  German  artistic  enamel-work 
has  its  origin  in  the  Byzantine  empire.  In  Germany  itself  certain  centres  for  this  art  were 
established  in  a  few  cities,  the  masters  giving  instruction  each  according  to  his  own  particular 
school.  One  of  the  most  celebrated  centres  was  at  Cologne,  where  the  great  and  celebrated 
master  Frederick  taught.  Celebrated  schools  were  also  established  in  Treves,  Coblenz,  and 
a  few  other  places. 

Fig.  1.    Plate  from  angle  column  of  the  Mauricius  Shrine  in  Cologne  by  Frederick; 
dates  from  the  year  1180. 

„     2,  3,  4,  and  8.    Enamel  plates   from   the  Ursula  Shrine  in   Cologne,   done  by 
Frederick  in  the  year  1170. 

„     5.    The  Benignus  Shrine  in  Siegburg.    Made  in  Cologne,  in  the  year  1190. 

.,     6.    Bronze  pillars  from  the  Anna  Shrine  in  Cologne,  1183. 

„     7.    Reliquary  plate  in  Fritzlar,  from  the  second  half  of  the  12th  century. 

„     9.    Crest  of  the  Albinus  Shrine  in  Cologne,  from  the  year  1186. 

„    10.    Crest  of  the  Anna  Shrine  in  Siegburg.    Made  in  Cologne  in   the  year  1183. 

„    11,  and  12.    Crest  of  the  Mauricius  Shrine  in  Cologne,  by  Frederick  in  the  year  1180. 


Painting  from  Bamberg  Cathedral  (Heideloff). 


FRENCH  ROMANESQUE  ORNAMENT.  149 

Romanesque  Ornament  in  France. 

In  the  provinces  of  France,  the  Romanesque  style  of  architecture  developed  itself  in 
a  somewhat  peculiarly  characteristic  fashion,  while  the  Roman  classic  predominated  in  the 
south,  more  especially  in  Provence,  but  the  Byzantine  style  held  sway  in  the  south-west 
In  the  north  of  France,  and  in  Normandy,  the  two  styles  were  blended  together. 


Plate  78. 

Fig.   1.    Doorway  of  the  church  of  St.  Ursin,  Bourges,  12th  century  (Opderbecke). 
„     2.   Column   from   the   church   of   Saint   Pierre,   Chauvigny  (Havard,  Histoire  et 

philosophie  des  Styles). 
„      3.    Doorway  of  the  church  at  Surgeres,  11th  century  (Opderbecke). 
„     4.    Column  from  the  church  of  St.  Lazare,  Avallon,  12th  century  (Opderbecke). 
„     5.   Base  from  the  church  at  Cusset,  12th  century  (Opderbecke). 
„     6.    Ornament  on  Doorway  of  the  church  at  Suger,  12th  century  (Opderbecke). 
„     7.    Base  from  the  church  at  Poissy,  12th  century  (Opderbecke). 
„     8.   Shaft  of  column  from  the  cathedral  at  Chartres,  12th  century  (Opderbecke). 
„     9.  and  10.  Base  and  carved  string  from  church  at  Vezelay,  12th  century  (Opderbecke). 
„    11.    Corbel  table  from  a  chapel  in  LSon,  11th  century  (Opderbecke). 
„    12.    Corbel  table  from  apse  of  the  church  et  Leognon,  11th  century  (Opderbecke). 


Plate  79. 

Fig.  1.   Frieze  in  relief  from  cloister  at  Moissac  (Havard). 
„     2.    Frieze  from  the  cathedral  at  Bourges  (Raguenet). 
„     3.    Frieze  from  the  museum  at  Toulouse,  12th  century  (Raguenet). 
„     4.    Corbel  table  from  the  church  at  Aulnay,  Charente  inf^rieure  (Raguenet). 

5.   Cross  from  Notre  Dame  du  Port,  Clermont-Ferrand,  11th  century  (Raguenet) 
„     6.   Abacus  from  the  museum  at  Toulouse  (Raguenet). 
„     7.    Abacus  from  the  cloister  of  St.  Trophime,  Aries  (Raguenet). 
„     8.    Capital  from  the  cathedral  at  Senlis,  12th  century  (v.  Pannewitz,  Formenlehre 

der  romanischen  Baukunst).  s 

„     9,  and  12.   Capitals  from  Toulouse  (Heideloff). 

„    10.   Base  from  the  church  of  Semur  in  Brionnais,  Burgundy  (Raguenet). 
„    11.    Capital  from  the  church  of  St.  Severin,  Toulouse  (Joseph). 


Plate  80. 

Romanesque  Ornament  in  Provence. 
(After  M.  Henry  Revoil,  Architecture  Romane  du  midi  de  la  France.) 

Fig.  1,  and  6.   Column  and  arch  from  the  cloister  of  St.  Sauveur,  d'Aix,  Bouche  du 

Rhone. 
„     2.   Capital  and  principal   cornice  from  the  chapel  of  St.  Gabriel,  Bouche  du 

Rhone.    Transition  from  the  classic  to  the  Romanesque  style. 
„     3,  5,  and  10.   Principal  cornices. 


150 


FRENCH  ROMANESQUE  ORNAMENT. 


Plate  78. 


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Plate  79. 


FRENCH  ROMANESQUE  ORNAMENT. 


151 


152 


FRENCH  ROMANESQUE  ORNAMENT. 


Plate  80. 


I        :  M  ;^i''^i  :^'^''i1  MM 


Plate  81. 


FRENCH  ROMANESQUE  ORNAMENT. 


153 


154 


FRENCH  ROMANESQUE  ORNAMENT. 


Plate  82. 


H0P2RXdV/Vyi 


FRENCH  ROMANESQUE  ORNAMENT.  I55 

Fig.  4.   Compound  pier  from  the  abbey  of  Montmajour. 
„     7,  9,  and  11.   Compound  piers  from  the  castle  of  Simiane,  Basses-Alpes. 
„     8,  12.    Pilaster  from  the  church  at  Thor,  Vaucluse. 


Plate  81. 

Norman-Romanesque  Ornament. 

(After  V.  Ruprich-Robert,  I'architecture  Normande.) 

Fig.  1,  and  2.   Pillar  capital  from  the  church  of  Montevilliers,  Seine  inferieure. 

„  3.   Doorway  of  the  church  of  Anisy,  Calvados. 

„  4.    Capital  from  the  church  of  Montevilliers. 

„  5.   Tympanum  from  a  door  of  the  church  at  Marigny,  Calvados.    Dates  from 

the  year  1150,  and  represents  the  old  custom  of  Tree-worship. 

„  6.   Doorway  of  the  church  at  Beaumais,  Calvados. 

„  7.    Window  of  the  church  at  Saint-Contest. 


Plate  82. 

Nor  man- Romanesque  Ornament. 

(After  V.  Ruprich-Robert,  I'architecture  Normande.) 

Fig.  1.  Painted  capital  from  the  church  of  St.  Georges  de  Bocherville,  13*h  century. 

„  2.  Capital  from  the  church  at  Mont  Saint  Michel  (Manche). 

„  3.  Capital  from  the  church  at  Breteuil  (Oise). 

„  4,  6,  9,  and  11.   Columns  from  the  church  of  St.  Gervais,  Rouen,   llth  century. 

„  5.  Norman  alphabet,  llth  century,  after  M.  de  Caumont. 

„  7.  Column  from  the  Chapter  hall  of  the  Abbey  of  Hambe  (Manche). 

„  8.  Capital  from  the  crypt  of  the  cathedral  of  Bayeux. 

..  10.  Cross  from  the  church  Sainte  Trinity  in  Caen. 


Plate  83. 

Fig.  1.  Iron  Grille  from  the  church  of  St.  John  of  Malta  in  Aix,  Provence  (Havard). 

„     2.  Wrought  iron  hinge  on  the  sacristy  door  of  the  cathedral  at  Noyon  (Havard). 

„     3.  Glass  painting  from  the  cathedral  of  Chartres  (Havard). 

„     4.  Baptismal  font  in  the  church  at  Besme,  Champagne  (Raguenet). 

„     5.  Bishop's  crozier  (L.  Roger-Miles,  Comment  discerner  les  styles). 

„     6.  Grisaille  In  the  church  at  Bonlieu,  Creuse  (Havard). 

„     7.  Cloth  fabric  from  the  Abbey  Saint  Germain -des-Pres,  Paris,  llth  century 

(Roger-Miles). 

„     8.  Crozier  of  Archbishop  Abaldos,  who  died  in  the  year  933,  in  the  cathedral 

at  Sens  (Roger-Miles). 

„     9.  Gold  embroidered  silk  (Roger-Miles). 

„    10.  Iron  grille  in  the  museum  at  Rouen,  13th  century  (Raguenet). 

„   11.  Iron  grille  from  the  cathedral  at  Puy,  9th  century  (Raguenet). 


156 


FRENCH  ROMANESQUE  ORNAMENT. 


Plate  83. 


Plate  84. 


FRENCH  ROMANESQUE  ORNAMENT. 


157 


158 


FRENCH  ROMANESQUE  ORNAMENT. 


Plate  85. 


is^MmtsmM 


FRENCH  ROMANESQUE  ORNAMENT. 


159 


Plate  84. 

Fig.   1.  Wood  coffer  from  the  sacristy  of  the  cathedral  of  Noyon  (Havard). 

„     2.  Chafing-dish  from  the  Archbishop's  palace  in  Narbonne,  13th  century  (Muller 

and  Mothes). 

„     3.  Chalice  and  cover  from  the  cathedral  of  Saint-Omer  (Havard). 

„     4.  Initial  letter  from  the  prayer-book  of  Charles  the  Bald  (Roger-Miles). 

„      5.  Holy  mass  flagon  from  the  church  treasury  of  St.  Denis  (Muller  and  Mothes). 

„     6.  Wooden  arm-chair  (Roger-Miles). 

„     7.  Seal  of  the  Capitol  of  Toul,  1127—1218  (Ary  Renan,  le  costume  en  France). 

„     8.  Stool  (Roger-Miles). 

„     9.  Jewel  of  the  Holy  Tear  of  Vendome  (Havard). 

„    10.  Eagle  from  hilt  of  a  sword,  IQth  century  (Roger-Miles). 

„    11.  Small-writig-desk  for  writing  on  the  knees  (Roger-Miles). 

„    12.  Paten  of  open- worked  silver,  chased  and  gilt,  13th  century  (Havard). 


Plate  85. 

French  Enamel-work  in  the  Middle  Ages. 

In  the  Middle  Ages,  certain  centres  of  art  were  formed  in  France  as  well  as  in  Germany, 
one  of  the  most  celebrated  art-schools  in  the  12th  century  being  established  at  Verdun.  The 
Verdun  Altar  is  the  most  renowned  work  of  art  during  this  epoch.  It  was  prepared  by 
Nicholas  of  Verdun  in  the  year  1191,  and  is  at  present  in  the  religious  establishment  at 
Klosterneuburg  near  Vienna  (Karl  Dreschler,  Der  Verduner  Altar). 

Fig.  1.    Enamelled  plate  from  the  Verdun  Altar. 
„     2—16.    Details  of  borner,  etc.,  from  the  same. 


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Frieze  from  the  church  of  St.  Pierre  de  Maguelonne  (H^court). 
(Revoil,  Architecture  Romane  dans  le  midi  de  la  France.) 


160 


ITALIAN  ROMANESQUE  ORNAMENT. 


Plate  86. 


ITALIAN  ROMANESQUE  ORNAMENT.  161 

Romanesque  Ornament  in  Upper  and  Middle  Italy. 

The  Lombard-Romanesque  style  shows  evidences  of  Germanic  influence  but  does  not 
evince  such  a  high  degree  of  development  as  the  German-Romanesque  style.  In  Tuscany 
and  Venice,  this  style  had  to  give  way  before  the  Florentine  and  Byzantine  style. 

Plate  86. 

Fig.  1.  Pulpit  In  the  cathedral  at  Bitonto  ll'h  century  (Raguenet) 

„     2.  Portion  of  arcade  in  museum  at  Brescia  (Mohrmann). 

„     3.  Carved  string  in  museum  at  Brescia  (Mohrmann). 

„     4.  Rose-window  from  the  church  at  Pomposa  (Mohrmann). 

„     5.  Fragment  of  column  in  museum  at  Brescia  (Mohrmann). 


Plate  87. 

Fig.  1.    Blind  Arcade  from  Verona  (Mohrmann).  '' 

„  2.    Relief  from  the  cathedral  In  Matera  (Raguenet). 

„  3.    Capital  from  the  cathedral  of  Torcello  near  Venice,  ll'h  century  (Raguenet). 

„  4.    Italian  rose-window  after  Rosenkranz  (Bilderatlas  der  Baukunst). 

„  5.    Window  from  the  church  of  St.  Abondio,  Como  (Joseph). 

„  6,  and  8.    Capital  and  archivolt  from  the  church  of  St.  Zeno,  Verona  (Mohrmann). 

„  7.    Doorway  from  the  church  of  the  Fathers  in  Padua  (Raguenet). 


Plate  88. 

(After  Prof.  Karl  Mohrmann  and  Dr.  Eugen  Ferd.  Eichwede,  Germanische  Fruhkunst.) 

Fig.  1,  and  2.    Doorway  from  the  church  of  St.  Stefano  in  Bologna. 
„     3.    Lion  plinth  from  the  principal  doorway  of  the  cathedral  at  Verona. 
„     4,  and  5.    Lion  plinths  on  the  doorway  of  the  church  in  Modena. 


Saracen-Norman  Ornament  in  Sicily  and  Lower  Italy. 

The  Normans  where  originally  a  northern  tribe  which  had  settled  in  Norway,  and  who 
afterwards,  being  forced  through  over-population  to  leave  their  Scandinavian  home,  founded 
a  colony  in  Normandy.  They  conquered  Sicily  and  Lower  Italy  and  established  also  colonies 
in  these  countries.  In  the  ll'h  century  a  characteristic  Romanesque  style  had  developed 
in  Normandy.  In  the  Norman  colonies  in  Lower  Italy,  this  style,  being  very  strongly  in- 
fluenced by  the  Islamite  style  of  the  Saracens,  developed  further  into  another  most  charac- 
teristic style,  which  reached  its  highest  standard  in  the  12th  century.  From  this  combination 
of  Oriental  and  Christian  art,  the  only  exemple  perhaps  of  the  kind  in  history,  from  this 
union  of  quick  Oriental  fancy  with  the  courage,  strength,  and  power  of  the  Northman,  have 
sprung  works  of  art  whose  delightful,  and  entrancing  beauty  charm  the  beholder  and  excite 
his  wonder  and  admiration. 

S  PEITZ,  Styles  of  Ornament.  11 


162 


ITALIAN  ROMANESQUE  ORNAMENT. 


Plate  87. 


Plate  88. 


ITALIAN  ROMANESQUE  ORNAMENT. 


163 


11* 


164 


ITALIAN  ROMANESQUE  ORNAMENT. 


Plate  89. 


ITALIAN  ROMANESQUE  ORNAMENT.  165 

Plate  89. 

Fig.   1,  4,  6,  and  7.    Nave  arches  and  superstructure  of  the  Cathedral  at  Monreale 

(J.  J.  Hittorff  et  L.  Zanth  Architecture  moderne  de  la  Sicile). 
„     2,  and  3.    Ceilings  from  the  same  cathedral  (Hittorff). 
„     5.    Arcade  from  the  cathedral  at  Monreale  (Camillo  Boito,  Architettura  del  medio 

evo  in  Italia).  This  church  was  built  between  the  years  1173  and  1182,  and  restored 

between  the  years  1816—1859. 
„     8.    Arch  from  the  cathedral  at  Monreale  (Hittorff). 


Fig. 

1. 

2. 

3- 

6. 

7. 

8. 

9. 

Plate  90. 

(After  Kutschmann,  Meisterwerke  der  sarazenisch-normannischen  Kunst  in  Sicilien 

und  Urtteritalien.) 

Relief  on  the  front  side  of  the  altar  of  St.  Cataldo. 

Baptismal  font  in  St.  Calaldo. 

5.     Window  archivolts  from  the  palace  of  St.  Antonio,  Palermo. 

Ear-ring  from  the  coronation  hood  of  Queen  Constance  II. 

Mosaic  from  the  Capeila  Palatina,  Palermo. 

Inlaid  frieze  from  the  same  church. 

Mosaic  from  a  window  reveal,  same  church. 
10,  and  11.    Mosaic  friezes  from  the  cathedral  at  Monreale. 
12.    Mosaic  from  the  church  of  the  Martorana,  Palermo. 


Plate  91. 

Fig  1,  and  3.    Mosaics  from  the  church  of  the  Martorana,  Palermo  (Kutschmann). 

„  2.    From  the  ceiling  of  the  cathedral  at  Monreale  (Hittorff  and  Zanth). 

„  4,  and  5.    Fragments  from  archivolt  in  the  side  aisle  of  the  Capella  Palatina 

at  Palermo  (Kutschmann). 

»,  6.    Mosaic  from  arch  soffit  in  the  same  church  (Kutschmann). 

«,  7,  and  9.    Mosaics  from  the  cathedral  at  Monreale  (Kutschmann). 

,,  8.    Painting  from  the  cathedral  of  Messina  (D'Espouy). 


Mosaic  from  Monreale  Cathedral 

(Hittorff  and  Zanth). 


166 


ITALIAN  ROMANESQUE  ORNAMENT. 


Plate  90. 


10. 


t1. 


I'i 


Plate  91. 


ITALIAN  ROMANESQUE  ORNAMENT. 


167 


168 


SPANISH  ROMANESQUE  ORNAMENT. 


Plate  92. 


SPANISH  ROMANESQUE  ORNAMENT. 


169 


Romanesque  Ornament  in  Spain. 

Romanesque  church  architecture  in  Spain  was  influenced  by  Moorish  architecture  of 
which  there  are  many  remains. 

Plate  92. 

(From  Monumentos  de  Espana.) 
Fig.   1.    Window  from  the  church  of  San  Isidoro,  Leon. 
2,  and  3.    Strings  from  the  same  church. 
,     4.    Capital  from  the  same  church. 

5,  and  6.    Capital  and  base  from  the  church  of  St.  Lorenzo,  Segovia. 
,     7.    Soffit  from  the  same  church. 

,     8,  and  9.    Capital  and  base  from  the  Gate  of  Mercy  in  the  same  church. 
,    10.    Fragment  from  the  old  cathedral  of  Salamanca. 
,    1]      Capital,  corbel  and  base  from  the  church  of  St.  Peter  and  Paul,  Barcelona. 


Plate  93. 

(From  Monumentos  de  Espana.) 

Fig.   1.    Doorway  from  the  church  of  San  Millan  in  Segovia. 

2.  Arch  mouldings  of  doorway  of  church  of  San  Martin,  Segovia. 

3.  and  8.    Plan  and  elevation  of  window  from  the  ancient  cathedral  of  Salamanca. 

4.  Capital  from  the  Pantheon  San  Isidoro,  Leon. 
5 — 7.    Panels  from  frieze  In  the  church  of  San  Lorenzo,  Segovia. 
9.    Stone  Sarcophagus  in  the  Pantheon  San  Isidoro,  Leon. 


Fig. 


Plate  94. 

(From  Monumentos  de  Espafia.) 

1,  Arcade   in  the   interior  of  the  apse   of  the  church   Santa  Maria  de  Villa 
Mayor,  Concejo  del  Infiesto. 

2,  and  6.    Capital   and   base   from   the   tower    on   the   C^mara   Santa   of   the 

cathedral  at  Oviedo. 

3,  and  4.    Corbel  table  from  the  church  of  Santa  Maria  de  Villa  Mayor. 
5.    Capital  from  tower  in  no.  2. 

7.    Sarcophagus  probably  of  King  Alphonzo  the  Wise,  in  the  cloister  of  Santa 
Maria  la  Real  de  las  Huelgas,  Burgos. 


Corbel  table  of  doorway  of  San  Lorenzo  in  Segovia  (Monumentos  de  Espana). 


170 


SPANISH  ROMANESQUE  ORNAMENT. 


Plate  93. 


^^ 


Plate  94. 


SPANISH  ROMANESQUE  ORNAMENT. 


171 


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V        -^V      ^*       ^i       r* 


172 


ENGLISH  ROMANESQUE  ORNAMENT. 


Plate  95. 


ENGLISH  ROMANESQUE  ORNAMENT.  173 

Romanesque  Ornament  in  England. 

The  art  of  the  early  Middle  Ages  in  England  can  be  divided  into  two  periods: 

1.  The  Anglo-Saxon  period  from  449  to  1066.    The  art  of  this  period  consisted  in  an 
attempt  to  reproduce  the  remains  of  Roman  architecture  in  the  country,  or  in  Italy. 

2.  The  Norman-period  from  1066  to  1189.    The  art  of  this  period  was  an  imitation  of  the 
Norman  French,  developing  gradually  into  a  characteristic  national  style. 

Plate  95. 

Fig.  1.   Norman  mural  paintings  on  the  altar  of  Our  Lady  of  Pity,  Durham  cathedral. 

Dates  from  the  year   1154  (Antiquarian   Gleanings   in  the  North  of  England  by 

WilUam  B.  Scott). 
„     2.   Door  in  Peterborough  cathedral,  12th  century  (Raguenet). 
„     3.   Column  from  Canterbury  cathedral,  from  the  year  1070  (Pannewitz). 
„     4.   Arcade  from  the  schools  at  Canterbury,  from  the  year  1115. 
„     5.   Capitals  in  the  church  of  St.  Peter  at  Northampton  (Graul,  Bilderatlas). 
„     6.   Door-knocker  from  Durham  cathedral  (Scott). 
„     7.  Tomb  of  an  English  knight,  12th  century  (Hefener-Alteneck). 


Plate  96. 

Fig.  1.    Capital  and  base  from  the  church   at  Lastingham,  Yorkshire,  12th  century 

(Pannewitz). 
„     2.    Capital  from  the  same  church  (Pannewitz). 
„     3.   Capital  from  the  church  at  Dunfermline,  Scotland  (Pannewitz). 
„     4.   Capital  from  the  church  of  St.  Peter-at-Gowts,  Lincoln,  Anglo  saxon  (Baldwin 

Brown,  The  arts  in  the  early  England). 
„     5.   Capital  from  Canterbury  cathedral  (Pannewitz). 
„     6.   Capital  from  Waltham  Abbey  (Pannewitz). 
„     7.   Capital  from  the  white  tower  of  the  Tower  of  London. 
„     8.   Double  window  of  the  east  fa9ade  of  the  tower  at  Deerhurst  (Baldwin  Brown). 
„     9,  and  10.    Pyxes  (Hottenroth). 

„   11.   From  the  chasuble  of  St.  Thomas  A'Beckett  (Hottenroth). 
„    12.   Coffer  from  the  Church  at  Brampton,  Northamptonshire,  12th  century. 
„    13.   Norman  ornaments  from  St.  Saviour  church,  Southwark  (Pugin,  Gothic  Ornament). 
„    14.   Late-Romanesque    tiles,    yellow    and    red,    from    the    church    at    Bloxham, 

13th  century  (Dolmetsch). 


Plate  97. 

(After  V.  Ruprich-Robert,  Architecture  Normande  du  XI  et  XII  siecle  en  Normandie 

et  en  Angleterre.) 

Fig.  1.   Triforium  Arches  of  Rochester  cathedral,  Kent. 

„  2.   Archivolt  of  doorway,  Peterborough  cathedral,  Northamptonshire. 

„  3,  and  5.    Window  shafts  in  the  Abbey  church  of  St.  Albans,  Herefordshire. 

„  4.   Baptismal  font  in  Sculthorpe  church,  Norfolk. 


174 


ENGLISH  ROMANESQUE  ORNAMENT. 


Plate  96. 


Plate  97. 


ENGLISH  ROMANESQUE  ORNAMENT. 


175 


176 


ENGLISH  ROMANESQUE  ORNAMENT. 


Plate  98. 


ENGLISH  ROMANESQUE  ORNAMENT.  177 

Fig.  6,  and  9.    Baptismal  font  in  Winchester  Cathedral,  Hampshire. 

„     7,  and  8.    Mural  paintings  from  same  cathedral. 

,,    10.  Archivolt  of  doorway  of  St.  Peter's  Church,  Northampton. 

„    11.  Column  from  the  crypt  of  Canterbury  Cathedral,  Kent. 


Plate  98. 

(After  James  K.  Colling,  Details  of  Gothic  Architecture.) 

Fig.   1.    Capital  and  base  from  the  crypt  of  vestry  in  Canterbury  Cathedral. 
„     2,  and  3.    Rose  window  from  Patrixbourne  Church,  Kent. 
„     4.    Capital  from  the  church  at  Walsoken,  Norfolk. 
„     5.    South  doorway  of  the  small  church  at  Gt.  Tolham,  Essex. 
„     6,  and  7.    West-Doorway  in  the  tower  of  the  church  at  Etton,  Yorkshire. 


Plate  99. 

Fig.   1-12.    From  Norman  cornices  (Parker's  Glossary  of  Architecture). 
Fig.   1.    Lincolnshire,  c.  1120,  Deeping  St.  James. 
„     2.    St.  Contest,  Caen,  Normandy. 
„     3.    Corbel  table,  St.  Peter  at  Gowts,  Lincoln. 

4.  Transept  of  Winchester  Cathedral,  1090. 

5.  Billet,  Canterbury  Cathedral. 

„     6.  Beak  Head,  St.  Ebbe's  Oxford. 

„     7.  Double  square  Westmmster  Hall,  c.  1097. 

8.  Chevron,  North  Hinksey,  Berks. 

9.  Rose,  Iffley,  Church  Oxon. 

„    10.    Segmental  Billet,  Abbaye  aux  Dames,  Caen. 
„    11.    Double  Cone,  Stoneleigh  Church,  Warwickshire. 
„    12.    Embattled,  Lincoln  Cathedral,  c.  1140. 
„    13.    Grille   in   Winchester   Cathedral    (Bailey   Scott  Murphy,   English   and   Scottish 

Wrought  Ironwork). 
„    14—16.    Capitals  and  base  in  the  western  tower  of  the  church  at  Great  Hale» 
near  Sleaford,  Lincolnshire  (Baldv/in  Brown,  The  Arts  in  Early  England). 


Plate  100. 

Fig.  1.    Canon's  staff  (Hottenroth). 

„     2.    Ship  in  which  Duke  William  came  over  to  England  (Hottenroth). 
„     3.    Anglo-Saxon  pyx  (Hottenroth). 
„     4.    Anglo-Saxon  sword-hilt  (Hottenroth). 
„     5,  and  8.    Pyxes  (Hottenroth). 
„     6.    Norman  shield  (Hottenroth). 
„     7.    Mitre  of  Thomas  A'Beckett  (Hottenroth). 
„     9.    Norman  sedan  chair  (Hottenroth). 
,,    10.    Anglo-Norman  woman  with  water-jug  (Hottenroth). 

„    11.    Cross  from  Monasterboice  Abbey,  Ireland,  dates  from  the  year  924  (Margaret 
Stokes,  Early  Christian  Art  in  Ireland). 

SPELTZ,  Styles  of  Ornament.  12 


178 


ENGLISH  ROMANESQUE  ORNAMENT. 


Plate  99. 


'^11'^-:  "*'^li;i>*^  ^"MjijgllJ'^l^Hl 


Plate  100. 


ENGLISH  ROMANESQUE  ORNAMENT. 


179 


II  II  II  11  ILUi 

12* 


180 


ENGLISH  ROMANESQUE  ORNAMENT. 


Plate  101, 


w 


avxj: 


ENGLISH  ROMANESQUE  ORNAMENT. 


181 


Fi 


12.  Anglo-Saxon  dagger,  from  the  lO'h  century  (Hottenroth). 

13.  and  15.    Candlesticks  (Hottenroth). 

14.  Coronation  spoon  (Hottenroth). 

16.  Dragon  ship,  11th  century  (Hottenroth). 

17.  Lantern  (Hottenroth). 

18.  Norman  knight  in  chain  armour  (Hottenroth). 


Fig. 


1,  3,  5,  6. 

2,  4,  7—13. 


Plate  101. 

(H.  Shaw,  Mediaeval  Alphabets  and  Devices.) 

Letters  from  the  works  of  Josephus  and  other  Mss.  12th  century. 
Letters  from  the  same  period  taken  from  manuscripts  in  the  British  Museum. 


Arched  doorway  from  the  church  at  Framlingham,  Norfolk. 
From  the  middle  of  the  12th  century  (V.  Ruprich-Robert). 


182 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


Plate  102. 


SCANDINAVIAN  ROMANESQUE  ORNAMENT, 


n  Norway,  the  Scandinavian  Ornament  stands  in  the  most  intimate 
relationship  with  the  Celtic,  a  circumstance  which  is  due  to  the 
fact  that  Christianity  was  first  introduced  into  Norway  by  the 
Irish.  In  South  Norway,  where  English  influence  had  to  give  way 
before  the  German,  stone  architecture  is  predominant,  one  of  the 
most  beautiful  examples  of  this  style  being  the  cathedral  at  Lund, 
a  basilica  founded  in  1072,  but  not  completed  till  1145.  Arch- 
bishop Eskill  who  consecrated  it  and  presided  over  its  completion 
came  from  Hildesheim  and  it  is  to  his  influence  that  the  pronounced 
German  character  of  the  design  may  be  attributed.  The  same  is 
found  in  the  large  conventual  church  at  Dalby,  south  of  Lund, 
which  was  consecrated  in  1163,  the  crypt  however  being  of  earlier 
date.  Besides  being  found  in  South  Norway,  stone  architecture 
of  a  most  decidedly  early  Germanic  style  is  also  predominant  in 
Sweden  and  Denmark. 

In  the  north  of  Norway,  however,  and  during  the  same  period, 
a  typical  style  of  wooden  architecture  was  developed.  This  style 
in  all  probability  had  its  origin  in  England,  although  at  the  present 
time,  there  is  but  one  example  of  a  wooden  church  throughout 
the  whole  country,  namely,  the  wooden  church  at  Greenstead,  near  London.  The 
greatest  and  most  powerful  influence,  however,  to  which  the  Romanesque-Scan- 
dinavian v^ooden  style  of  architecture  was  subjected  during  its  development  was 
the  influence  exercised  by  Irish-Celtic  Art.  It  must  not  be  forgotten,  at  the 
same  time,  that  the  peculiar  Norwegian  parish  churches  appear  to  have  had  an 
independent  development  of  their  own,  the  richly  decorated,  ornamental  doorway 
of  these  churches  being  very  characteristic.  Three  periods  are  noted  in  the 
construction  of  these  churches. 


From  side 

doorway  of 

the  church 

at  Urnes 

(Dolmetsch). 


184  SCANDINAVIAN  ROMANESQUE  ORNAMENT. 

1 .  The  archaic  form,  or  the  period  ot  Irish  influence  up  to  the  year  1 1 50  A.  D. 

2.  The  period  distinguished  by  the  Romanesque  form,  a  style,  which,  in 
all  probability  was  taken  from  the  Anglo  Saxons  and  Anglo  Normans  up  to 
the  year  1250  A.  D. 

3.  The  period  of  Gothic  influence  up  to  the  decline  of  art.  The  Gothic 
could  never  entirely  supersede  the  influence  of  the  Romanesque,  a  style  which 
had  already  taken  such  deep  root  in  the  country. 

There  are  three  styles  of  doorways: 

1.  The  Sognin  Type.  This  takes  its  name  from  a  country  district,  and, 
is  distinguished  from  the  other  styles  of  doorways  by  the  delicacy  and  elegance 
of  the  tracery  work,  no  different  or  distinct  periods  of  development  being 
apparent. 

2.  The  Thelmark  Type.  This  type  of  doorway  may  be  seen  in  the  church 
of  Christianasand.  The  traceries  are  broad,  very  often  rough  and  coarse,  and 
in  strong  contrast  to  the  foregoing  style.  The  development  and  decadence  of 
the  Thelmark  type  of  doorway  can  be  much  better  observed  an  followed  the 
Sognin  type. 

3.  The  Figurative  Portals.  This  style  of  doorway  which  belongs  either 
to  bible  history  or  to  mythology,  is  found  only  in  South  Norway.  The  artistic 
treatment  of  the  figures  is  inferior  that  of  the  Ornament. 


Plate  102. 

Romanesque  Ornament  in  Norway. 

(After  Sesselberg,  Skandinavische  Baukunst). 

Fig.   1.    Capital  from  the  cathedral  at  Nidaros,  Dronthelm.    This  church  was  built  in 
the  year  1161. 

2.  Shaft  of  column  from  the  church  at  Wal. 

3.  and  5.     Window  from  the  cathedral  at  Lund. 

4.  Door  from  the  church  at  TorlOsa. 

6.  Capital  from  the  cathedral  at  Lund. 

7.  Interlaced  work  from  the  church  at  WaL 


Plate  103. 

(After  Dietrichson  and  Munthe,  Die  Holzbaukunst  Norwegens.) 

Fig.  1.  Doorway  of  the  church  at  Aardal,  at  present  in  the  museum  at  Bergen.  This 
church  was  built  in  the  year  1200,  and  is  the  most  elegant  example  of  the  Sogn- 
Valdr^s  type  of  Ornament. 


Plate  103. 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


185 


186 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


Plate   104. 


Plate  105. 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


187 


188 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


Plate  106. 


mmM 


s. 


CuJ  '^^.^aiiSi 


SCANDINAVIAN  ROMANESQUE  ORNAMENT.  189 

Fig.  2,  and  4.   Column  and  capital  from  the  church  at  Urnes,  one  of  the  most  interesting 

of  Irish  wooden  churches.    It  is  very  ancient. 
„    3.   Doorway  of  the  Andreas  Church  in  Bourgund.    This  church  lies  on  the  road 

leading  from  Christiania  to  Bergen,  and  dates  apparently  from  the  year  1150  after 

Christ. 
„     5.   West  gable  of  the  church  at  Urnes. 
„     6.   Remains  of  a  ruined  Irish  church  in  Hopperstad. 

„     7.    Doorway  from  the  church  at  Hitterdal,  dates  probably  from  14tii  century. 
„     8.   Mask  from  a  wall  pillar  in  the  church  at  Hegge.    This  church  was  first  mad? 

mention  of  in  the  year  1327. 
„     9.   Column  from  the  aisle  of  the  church  at  Hitterdal. 
,,    10.    Unrolled  cylindrical  capital  from  the  church  at  Hegge. 
„    11.   Part  of  a  chair  from  the  church  at  Hitterdal. 


Plate  104. 

(After  Dietrichson  and  Munthe.) 

Fig.  1.   Half  of  the  outer  west-doorway  of  the  church  at  Hegge  In  Valdres,  bishopric 

of  Hamor. 
„     2.    Half  of  the  doorway  of  the  church  at  Hemsedal  in  Hollingdal,  bishopric  of 

Christiania. 
„     3.   Half  of  the  doorway  of  the  church  at  Hitterdal  in  Thelemarken,  bishopric  of 

Christianiasand. 
„     4.    North  doorway  of  the  same  church. 

5.    Doorway  of  the  church  at  Rennebo,  Orkedal,  bishopric  of  Drontheim,  in  the 

museum  at  Drontheim. 
„     6.    Doorway  of  the  church  of  Tonjem,  Sogn,  bishopric  of  Bergen,  in  the  museum 

at  Bergen. 


Plate  105. 

Fig.  1 ,  and  2.   Arm  chair  in  the  museum  at  Christiania. 
„     3.   Hanging  bracket  in  the  same  museum  (V.  Ruprich-Robert). 
„     4.    Prow  of  ship  in  the  same  museum  V.  Ruprich-Robert). 
„     5.    Door  Lock  in  the  museum  at  Bergen  (Mohrmann). 
„     6.   Door  Handle  in  the  Hedal  church  (Mohrmann). 


Plate  106. 

Romanesque  Ornament  in  Sweden. 

(After  Mohrmann.) 

Pig.  1,  and  4.   Baptismal  fonds  in  the  museum  at  Stockholm. 
„     2.    Ornament  from  a  baptismal  font  in  the  same  museum. 
„     3.    Capital  from  the  crypt  of  church  in  Dalby,  Sweden. 
.,     5.   Inscription  on  a  baptismal  font  in  the  museum  at  Stockholm. 
„     6—8.   Columns  from  the  crypt  of  the  church  in  Dalby,  Sweden. 


190 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 


Plate  107. 


SCANDINAVIAN  ROMANESQUE  ORNAMENT. 

Plate  107. 

Romanesque  Ornament  in  Denmark. 
(After  Mohrmann.) 

Fig.   1—5,  and  7.    Incised  border  from  altarplate  in  the  ctiurcti  at  Sal,  Jutland. 
„     6.    Doorway  of  the  church  at  Ripe,  Jutland, 
o,     8.    Altar  of  the  church  at  Sal. 


191 


Stone  Ornament  from  the  Cathedral  at  Lund 

(Sesselberg). 


192 


RUSSIAN  ORNAMENT. 


Plate   108. 


RUSSIAN  ORNAMENT. 


artaric  influence  —  which  dates  chiefly  from  1237  to  1480, 
when  the  Tartars  were  in  power — may  be  regarded  beyond 
any  doubt  as  the  chief  cause  why  the  pure  Byzantine  style 
originally  established  in  Russia  came  to  be  changed  later 
on  into  the  Ornament  special  to  that  country.  There,  as 
into  every  other  country  where  they  appeared,  the  Christians 
brought  with  them  a  new  style  of  art,  which  developed 
itself  afterwards  in  accordance  with  the  national  character 
of  the  people.  The  commencement  of  Russian  Art  may  be 
said  to  date  from  the  end  of  the  lO**"  century  under  the 
reign  of  Vladimir  the  Great.  In  the  latter  part  of  the  Middle 
Ages  and  towards  the  beginning  of  the  Modem  period,  Italian 
artists  were  invited  in  great  numbers  into  the  country  and  were  engaged  in 
the  construction  of  numerous  monumental  buildings.  The  influence  of  Oriental 
Art,  however,  was  already  so  very  great,  that  even  Italian  Art  was  not  powerful 
enough  to  entirely  eliminate  it  from  the  country.  Wooden  architecture  plays  a 
great  part  in  Russian  ornament.  There  exist  at  present  in  Russia  some  Old- 
Slavonian  manuscripts  dating  from  the  lO**'  century. 


Initial  from  a 

Gospel  in  the  Rum- 

jantzow-Museum  in 

Moscow 

(Dolmetsch). 


Plate  108. 

(After  E.  Viollet  le  Due,  I'Art  Russe.) 

Fig.  1.  Arcii  of  a  doorway  in  the  cathedral  of  St.  Dimitri,  Vladimir. 

„  2.  Russian  capital. 

„  3.  Cupola  of  the  cathedral  of  St.  Basil. 

„  4.  Russian  column. 

„  5.  Stucco  ornament. 


Plate  109. 

(After  Gagarin,  Russische  Ornamente.) 

Fig.  1.    From  St.  George's  church  in  Jurjeff-Polsicy,    Government  of  Vladimir;   dates 

from  l-Sth  century. 
„     2.    Wood  carving  on  an  Ikon,  16'h  century. 
„     3.    Relief  decoration  of  a  stone  wall  in  the  church  of  St.  George,  Jurjeff-Polslcy, 

Government  of  Vladimir. 
„     4.    From    a    silver   mounting    of    a    picture    of   Christ    in    Antschishat,    Tiflis, 

14th  century. 
„     5,  and  6.    Entrance  porch  of  St.  George's  Church  in  Jurjeff-Polsky,  13tii  century. 

SPELTZ,  Styles  of  Ornament.  13 


194 


RUSSIAN  ORNAMENT. 


Plate   109. 


Plate  110. 


RUSSIAN  ORNAMENT. 


195 


13* 


196 


RUSSIAN  ORNAMENT. 


Plate  111. 


RUSSIAN  ORNAMENT.  igy 

Plate  110. 

Fig.  I,and4.    Painted  ornamentations  from  an  Old  Russian   Psalter,  in  the  Imperial 

Public  Library  at  Moscow  (Dolmetsch,  Ornamentenschatz). 
„     2.    From  a  Psalter,  in  the  library  of  the  Holy  Trinity,  Moscow  (Dolmetsch). 
„     3.    From  a  prayer-book,  in  the  Miracle-Cloister  at  Moscow  (Dolmetsch). 
„     5.    From  a  prayer-book,  15th  century,  in  the  Bjaloserski  Cloister  in  Moscow  (Dolmetsch), 
„     6.    Club  in  chased  iron  (Libonis). 
„     7.    Old  Russian  helmet  (Libonis). 
„     8.   Chalice  of  St.  Anthony  of  Rome  in  the  Cathedral  of  the  Assumption,  Moscow. 

Dates  from  12th  century  (Libonis). 
„     9    Krubok  (beaker)  belonging  to  Prince  John  III.  (Libonis). 
„    10.    Spoon  beJonging  to  Bishop  Antonius,  in  Moscow,  12th  century  (Libonis). 
„    11.    Eagle  with  victim  in  claws,   made  of  Siberian  gold,  at  present  in  the  Museum 

of  the  Hermitage  (Moscow). 
„    12.    Altar  in  Antschishat  in  Tiflis,  14th  century  (Gagarin). 
„    13.    Pew  of  the  Czar  in  the  Cathedral  of  the  Assumption,  Moscow.    This  church 

was  re-built  in  the  years  1475—1479.   by  an  Italian  architect  named  Aristotle  Fior- 

avanti,   which    accounts   for   the   Italian   Renaissance   influence   observable  in  the 

Ornament. 
„    14.    Details  from  the  Figs.  12. 


Plate  111. 

(After  E.  Viollet  le  Due,  I'Art  Russe.) 

Fig.  1.   Embroidery  from  a  Russian  shirt. 
„     2,  4,  and  5.   Ornaments  from  throne  of  the  Czar  Alexis  Mikailowitch. 
„     3.    Diadem  in  enamel- work,  16th  century. 

„     6.   Mural  painting.    The  custom  of  Tree-worship,  transmitted  from  very  remote  periods, 
is  here  plainly  discernible. 


From  a  Gospel  in  the  Cloister  at  Novgorod  (Dolmetsch). 


MAHOMETAN  ORNAMENT. 


Decorative  fragment  fromb  tomb  of 
the  Sultan  El-Ghoury  (Prisse). 


In  ancient  times,  art  was  the  expression  of  the 
religious  feelings  of  a  people.  When,  therefore, 
a  new  religious  faith  was  proclaimed,  the  deve- 
lopment of  a  new  art  commenced.  The  procla- 
mation of  the  peace  of  the  church  by  Constantine 
in  323  A.  D.,  led  not  only  to  new  requirements 
to  meet  the  demands  of  the  new  religion, 
but  to  great  changes  in  design,  and 
eventually  to  a  style  which  differed 
materially  from  that  which  had  gone 
before.  The  early  Christian  style  in 
Rome  and  the  West,  and  the  Byzantine 
style  in  the  East  gradually  transformed 
the  ancient  classic  art.  A  similar  change  took  place  shortly  after  Mahomet 
carried  the  Islamic  faith  through  Egypt,  Syria  and  Persia.  At  first  the  conquerors 
and  their  new  convents  contented  themselves  with  the  structures  then  existing 
in  the  various  countries  subdued  and  converted,  or,  having  no  preconceived 
styles  of  their  own,  employed  the  native  workmen  to  build  for  them,  making 
use  of  the  materials  at  hand,  such  as  existed  in  profusion  in  the  Pagan  temples 
and  the  Coptic  and  Byzantine  churches.  In  course  of  time  these  resources  were 
no  longer  available,  and  then  commenced  the  gradual  development  of  the  Maho- 
metan style.  This  style  varied  in  the  several  countries  according  as  it  was  in- 
fluenced by  local  traditions,  and  also  in  the  periods  when  it  commenced  and 
when  it  reached  its  fullest  developments.  Thus  in  Syria,  North  Africa  and  Persia, 
the  chief  elements  of  the  style  are  found  towards  the  close  of  the  8*''  century. 
In  Egypt  it  was  nearly  a  century  later,  as  also  in  Spain,  where  it  was  in- 
troduced  from  Kerouan  in  Tunis,   in  Asia  Minor  under   the   rule  of  the  Seljuk 


MAHOMETAN  ORNAMENT.  199 

Turks  of  Rum  it  began  to  flourish  toward  the  close  of  the  11*''  century,  in  India, 
at  about  the  same  time,  but  only  in  a  small  portion  of  the  country,  and  in  Con- 
stantinople toward  the  close  of  the  15*^  century.  In  all  these  countries  there 
was  one  universal  rule  which  was  rarely  departed  from,  viz,  the  absolute  pro- 
hibition of  naturalistic  representations  of  men,  animals  or  plants.  This  led  from 
the  first  to  a  purely  conventional  type  of  leaf  design,  which  often  served  as 
backgrounds  for  the  magnificent  inscription  in  Arabic  characters,  and  to  geome- 
trical designs  of  immense  variety,  the  followers  of  Mahomet  being  the  greatest 
geometricians  of  the  world;  and  at  a  later  period  to  the  decorative  treatment 
of  constructional  features,  such  as  are  shewn  in  the  elaboration  of  the  voussoirs 
of  an  arch  and  more  especially  in  the  so-called  stalactitic  vaulting,  which,  except 
in  India,  prevails  throughout  the  Mahometan  style.  Originally  evolved  from  con- 
structive features  of  small  materials,  such  as  brick,  it  was  imitated  in  stone 
throughout  Syria,  Egypt,  Asia  Minor  and  Constantinople,  in  plaster  in  Spain 
and  in  all  countries  in  wood. 

The  titles  of  the  several  developments  of  the  Mahometan  style  vary  in  the 
different  countries:  thus  in  Persia,  it  is  recognised  as  Persian,  in  Syria  and 
Egypt  as  Saracenic,  or  Arabian;  in  Tunis,  Morocco  and  Spain  as  Moorish,  in 
Turkey  as  Ottoman,  and  in  India  as  Indo-Saracenic,  In  Persia,  Syria,  Egypt, 
and  Asia  Minor,  and  to  a  certain  extent  in  India,  the  pointed  arch,  first  in- 
troduced as  an  important  constructional  feature  in  the  Mosque  of  Ibu  Tulun  in 
Cairo  870  A.  D.,  became  eventually  an  emblem  of  the  faith.  In  Syria  and  Egypt 
the  pointed  arches  were  also  horse-shoe,  that  is  to  say,  the  arched  from  was 
continued  below  the  level  of  the  springing  or  centres.  In  Persia  and  Asia  Minor 
the  arches  were  generally  four  centred  and  not  horseshoe  and  the  same  is  found 
in  India.  In  Tunis,  Morocco  and  Spain  the  horseshoe  arch  with  semicircular 
head  would  seem  to  have  prevailed,  this  would  appear  to  have  originated  at 
Kerouan  in  Tunis  and  was  carried  into  Spain  by  the  Moorish  followers  of 
Mahomet.  To  the  Moors,  however,  is  due  another  development  of  the  greatest 
importance  from  the  ornamental  point  of  view,  they  were  the  first  to  cusp  the 
arch,  in  970  A.  D.,  in  the  sanctuary  of  the  mosque  of  Cordova,  and  this,  so  far 
as  decorative  form  goes,  constitutes  the  leading  characteristic  of  the  Moorish 
style  in  Spain. 


200 


MAHOMETAN  ORNAMENT. 


Plate    112. 


Plate  113. 


MAHOMETAN  ORNAMENT. 


201 


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202 


MAHOMETAN  ORNAMENT. 


Plate   114. 


MAHOMETAN  ORNAMENT.  203 

Arabian  Ornament. 

Towards  the  middle  of  the  9th  century  the  Islamites  developed  in  Egypt  a  characteristic 
style  of  art  of  which  the  pointed  arch  was  the  distinguishing  feature. 

Plate  112. 

Fig.  1 — 5.  Columns  and  capitals  from  Cairo,  17th  century  (Prisse  d'Avennes,  la  decoration 

Arabe). 
„     6,  and  13.   Windows  from  the  mosque  Theiay-Abou-Rezyq,  12th  century  fPrisse 

d'Avennes). 
„     7.   Parapet  of  the  mosque   of  the  Sultan  Ibn  Kalaom  (Owen  Jones,  Grammar  of 

Ornament). 
„     8.   Archivolt  ornament  from  the  same  mosque  (Owen  Jones). 
„     9,  and  10.   Wrought-iron  door  knocker  from  Cairo  (Owen  Jones). 
,,    11.    Soffit  from  the  mosque  El  Nasw  (Owen  Jones). 
„    12.    Stalactite  ornaments  from  Cairo  (Dolmetsch). 
„    14.   Frieze  from  the  mosque  Thelay-Aboy-Rezyq  (Prisse  d'Avennes). 


Plate  113. 

Fig.  1—4,  8—10,  and  13.   Decorative  details  from  the  interior  of  the  mosque  of  Ahmed- 
ibn-Tulun,  9th  century  (Prisse). 
„     5,  12,  and  16.    Wooden  trellis  work,  12th  and  13th  centuries  (Prisse). 

6.   From  a  wooden  ceiling  in  the  mosque  at  Qous  (Prisse). 
„     7,  and  11.   Wooden  trellis  work  from  the  mosque  Thelay-Abou-Rezyq,  12th  century 

(Prisse). 
„    14.   From  the  mosque  Tekieh  Cheikh  Hacen  Sadaka,  14th  century  (Prisse). 
„    15.   Interior  window  decoration  from  the  mosque  Queygoum,  14th  century  (Prisse). 


Plate  114. 

Fig.  1.   Window  of  open-worked   plaster  in  the  Mosque  of  El-Ashraf,  15th  century 
(Prisse). 
„     2.   Sample  of  stuff  in  the  museum  at  Utrecht,  14th  century  (Prisse). 

3.   Wall  decoration  in  the  mosque  Shekhun,  14th  century  (Prisse). 
„     4.   Wall  decoration  in  the  palace  of  Ismail  Bey,  16th  century  (Prisse). 


Plate  115. 

Fig.  1 — 3.    Samples  of  mosaic  work,  16th  century  (Prisse). 

„  4,  9,  and  12.    Helmet  and  arms  from  Toman-Bey  (Libonis). 

„  5.    Lamp  from  the  mosque  of  Kalaom.    In  the  Cairo  museum  (Libonis). 

„  6.    Lamp  from  the  mosque  El-Ghuri.    In  the  Cairo  museum  (Libonis). 


204 


MAHOMETAN  ORNAMENT. 


Plate   115. 


g^:^i.<g»;^i:j^,^^^S^^  A  ^^ 


MAHOMETAN  ORNAMENT. 


205 


7.  Mosaic  frieze  from  the  tomb  of  Bursbey,  15th  century  (Prisse). 

8,  and  13.    Decorative  fragment  from  tfie  tomb  of  the  Sultan  El-Ghflri  (Prisse) 

10,  and  16.   Wood  carving  from  the  mosque  at  Quos,  17^^  century  (Prisse). 

11,  and  14.    Border  of  wall-tiles,  16th  century  (Prisse). 

15.    Carved  joist  from  the  hospital  of  the  Muristan,  13th  century  (Prisse). 


Enamelled  glass  lamp  from  the  mosque  of  Sultan  BarkOk 

14th  century  (Prisse). 


206 


MAHOMETAN  ORNAMENT. 


Plate  116. 


MAHOMETAN  ORNAMENT.  207 


Moorish  Ornament. 

In  the  wonderful  buildings  of  the  Moorish  kings  in  Spain  from  the  9th  to  the  14th  cen- 
turies, more  especially  in  the  Cathedral  at  Cordova,  the  Alhambra  in  Granada,  and  in  the 
Alcazar  in  Seville,  Mahometan  Ornamental  work  may  by  seen  in  its  highest  splendour.  In 
the  artistic  interlacing  and  interwaeving  of  geometric  and  arabesque  Ornament,  Moorish  artists 
show  extraordinary  talent,  and  give  free  rein  to  the  wonderful  powers  of  fancy  and  imagi- 
nation which  they  possessed  in  such  a  high  degree.  Despite  the  exuberance  of  the  orna- 
mentation and  the  rich  and  vived  coloured  of  the  painting,  Moorish  Ornament  never  wearies 
or  confuses  the  eye,  the  technical  drawing  and  the  colouring  of  each  single  system  of  Orna- 
ment beeing  so  clearly  defined  and  so  distinct,  that  each  can  be  distinguished  from  the  other 
easily  and  clearly.    The  fine  arable  lettering  was  often  used  by  the  Moors  as  Ornament. 


Plate  116. 

Ornament  from  the  Caliphate  in  Toledo. 
In  the  old  Synagogue,  new  the  Church  of  St.  Maria  de  la  Bianca,  Toledo. 

Fig.   1.    Capital  from  the  central  aisle. 

2.  Capital  of  the  lower  story. 

3.  Stucco  ornament  from  the  arch  of  the  central  courtyard. 
4—6.    Console  under  the  tie  beams  of  the  aisle. 

7.  Capital  and  springing  of  the  arch. 

8.  Console  of  the  gallery  at  the  entrance. 

9.  Capital  from  the  upper  story. 


Plate  117. 

Ornnment  from  the  Caliphate  in  Granada. 

Fig.  1,  and  2.     Arch  panellings  in  the  Alhambra  (JunghMndel). 

3.  Capital  from  the  Alhambra  (Junghandel}. 

4,  and  5.    Decorative  details  from  the  Alhambra  (Junghandel). 

6.  Capital  from  the  Alhambra  iDolmetscln. 

7.  Wall  panelling  from  the  Alhambra  'Dolmetschi. 

8.  Taken  from  portal  of  the  mosque  in  Tangiers  (Uhde). 

9.  Beginning  of  arch  in  the  Alberca  Court,  Alhambra  (Uhde). 

10.  Beginning  of  arch  in  the  Myrtle  Court  of  the  Alhambra  (Uhde). 

11.  Corbels  from  Toledo.    In  the  Archaeological  Museum,  Madrid  (Uhde). 

12.  Cresting  from  the  Alhambra  (Uhde). 


Plate  118. 

Ornament  from  the  Caliphate  in  Granada. 

Fig.  1.    Wall  panelling  from  the  Alhambra  (Dolmetsch). 
„     2,  and  3.    Decorative  details  from  the  Alhambra  (Junghandel). 
„     4 — 6.    Wall  panellings  from  the  Alhambra  (Owen  Jones). 


208 


MAHOMETAN  ORNAMENT. 


Plate  117. 


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—-      ^v  VM^\    V\T^'"A^    ^^^^^X  e»^^;^'^^cieiLi'^j(JBe/t^ 


Plate  118. 


MAHOMETAN  ORNAMENT. 


209 


SPELTZ,  Styles  of  Ornament. 


14 


210 


MAHOMETAN  ORNAMENT. 


Plate    119. 


kAAAiAAi 


MAHOMETAN  ORNAMENT. 


211 


Plate  119 

(After  Monumentos  de  Espana.) 

Fig.    1 — 3.    Tile  facings  in  the  Hall  of  the  Ambassadors,  Granada. 
„     4.    Taken  »rom  the  lower  part  of  the  Mirador  de  LindarSja  in  the  royal  Alkazar 

of  the  Alhambra,  Granada. 
„     5—7.    Tile  facings  from  the  royal  chamber  of  Santo  Domingo  in  Granada. 


Plate  120. 

Fig.   1.     Door  from  the  Alhambra  (Uhde). 

2,  Boabdil's  sword  (Libonis). 

3,  10,  and  11.     Mosaic  borders  (Owen  Jones). 

4,  and  5.     Plastic  wall-border  decorations  (Owen  Jones), 

6,  and  8.    Enamelled  glass  bottles  (Libonis). 

7.  Glass  lamp  from  a  mosque  (Libonis). 
„     9.    Corner  ornaments  (Owen  Jones). 


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Cornice  Impost  from  the  Central  Arch  of  the  Court  of  Lions 
in  the  Alhambra,  Granada  (Monumentos  de  Espana). 


14* 


212 


MAHOMETAN  ORNAMENT. 


Plate  120„ 


Plate  121. 


MAHOMETAN  ORNAMENT. 


213 


214  MAHOMETAN  ORNAMENT. 


Saracenic  Ornament. 

The  Saracens,  who  originally  came  from  Northern  Arabia,  like  the  Moors  of  Hamitic 
origin,  were  both  for  a  long  time  the  chief  standard  bearers  of  Islam  art.  When  Sicily  was 
conquered  by  the  Normans,  the  Saracens  placed  their  art  at  the  disposal  of  the  conquerors, 
in  many  cases  Christian  churches  were  ornamented  and  decorated  by  Mahometan  artists. 
In  this  manner  a  peculiar  Saracen-Norman  style  of  art  developed  itself  in  Italy  (see  page  161). 
Unfortunately,  there  are  so  very  few  remains  of  Saracenic  art  in  Sicily  now  existing  that 
we  cannot  form  any  general  view  of  what  it  really  was. 


Plate  121. 

(After  Kutschmann,  Meisterwerke  der  sarazenisch-normannischen  Kunst 
in  Sizilien  und  Unteritalien.) 

Fig.  1.    Fragment  of  a  wooden  ceiling  in  the  National  Museum  at  Palermo. 
„    2,  and  3.     Panellings  of  a  wooden  door  in  the  Martorana  at  Palermo. 
„    4.    Door  soffit  in  the  National  Museum  at  Palermo. 


Ottoman  Ornament. 


The  term  Ottoman  is  given  to  the  Mahometan  style  as  practised  by  the  Turks  in  Con- 
stantinople. It  has,  however,  a  much  earlier  origin,  having  been  fully  developed  by  the 
Seljuk  Turks,  who  towards  the  close  of  the  12'h  century  had  conquered  a  considerable 
portion  of  Mesopotamia,  Syria  and  Asia  Minor.  One  of  their  earlier  buildings  is  the 
Medresseh,  or  Collegiate  Mosque  at  Erzeroum,  dating  from  the  middle  of  the  12"'  century. 
Ail  the  arches  are  pointed  and  the  capitals  of  the  columns  carrying  them  are  decorated 
with  stalactites. 

In  this  mosque  and  generally  in  those  found  at  Konia,  Nigdeh,  Kaisariyeh  and  other 
towns,  the  principal  feature  is  the  entrance  porch,  which  is  surrounded  by  numerous 
borders,  either  elaborately  carved  with  conventional  designs  and  inscriptions,  or  covered 
with  Persian  tiles  of  brilliant  colours  in  some  cases  probably  exported  from  Persia,  so  that 
the  influence  of  their  design  is  noticeable  in  most  of  their  work.  Sometimes  their  mosques 
are  preceded  by  an  open  arcade,  with  pointed  arches,  the  voussoirs  of  which  are  alternately 
of  black  and  withe  marble  At  Kaisariyeh  in  the  mosque  erected  by  Houen  in  1238  A.  D., 
slightly  horseshoe  and  ogee  arches  are  found,  but  here,  as  also  at  Nigdeh,  the  most 
beautiful  features  are  the  octagonal  tombs,  in  the  former  of  the  founder  Houen  and  at 
Nigdeh  of  Havandah,  the  wife  of  Ala-ed-din  of  the  13<h  century.  These  tombs  are  enriched 
in  profusion  with  elaborate  carving;  with  stalactite  cornices  and  conical  terminations.  Other 
Seljukian  monuments  are  the  four  mosques  at  Sivas,  built  between  1211  and  1212.  Amasia 
with  13'h  and  H'h  century  examples,  and  Divrik,  where  the  entrance  doorway  with  its 
boldly  relieved  ornamentation  is  of  great  beauty.  The  power  of  the  Seljuks  lasted  till  their 
conquest  by  Timur  in  1400  A.  D.,  who  devastated  the  country,  which  eventually  in  1453  A.  D. 
passed  into  the  possession  of  Mohamet  11  the  conqueror  of  Constantinople. 


MAHOMETAN  ORNAMENT. 


215 


The  Turks  followed  the  example  of  all  Mohametan  rulers  and  adopted  the  architectural 
forms  of  Constantinople,  the  Church  of  Sta.  Sophia,  built  by  Jus'.inian  becoming  the  model 
on  which  all  their  mosques  in  future  were  based.  Pre\ious  to  the  conquest  of  Constantinople, 
the  Osmanli  Turks  had  already  taken  possession  of 
Nicaea  in  1330  A.  D.,  where  tere  were  many  Scljuk 
mosques,  to  which  they  added  and  enlarged.  It  was, 
however,  at  Brusa,  which  they  took  in  1326,  that  they 
erected  their  finest  mosques,  such  as  the  Great  Mosque 
1360-1413,  the  Green  Mosque  1420  A.  D.,  a  title 
given  to  it  on  account  of  the  green  glazed  tiles  with 
which  its  minarets  and  porch  are  covered,  the  tomb 
of  Mohamet  I,  1421  A.  D.  and  other  structures,  in 
some  of  which  there  is  certain  evidence  of  Byzantine 
influence,  possibly  due  to  the  fact  that  Greek  architects 
were  employed.  The  employment  of  tiles  encasing 
the  porches  and  minarets  gives  a  Persian  character  to 
all  these  mosques. 

The  first  great  mosque  built  in  Constantinople 
was  the  mosque  of  Mohamet  II,  built  in  1663—69  A.  D. 
on  the  site  of  the  church  of  the  Holy  Apostles, 
this  was  designed  by  Christodoulos,  a  Greek  archi- 
tect. This  was  followed  by  the  Bayezidiyeh,  built 
1497—1505;  the  Selimiyeh  1520—26;  the  Suleimanie 
(1550—56)  designed  by  Sinan,  who  is  said  to  have 
been  an  Armenian  architect,  and  the  Ahmediyeh 
erected  by  Sultan  Ahmed  1608—14  A.  D. 

In  all  these  mosques  a  central  dome  with  great 
apses  forms  the  chief  feature,  as  in  Sta.  Sophia. 
The  pointed  arch,  however,  was  adopted  throughout 
and  the  details  were  all  based  on  the  Seljukian  style 
with  stalactilic  capitals,  conventional  foliage  decoration, 
and  inscriptions  in  fine  cufic  characters.  In  the 
IStii  century  western  Rococo  architecture  commenced 
to  influence  the  design,  and  although,  as  in  the 
Tulip  Mosque  1760—67,  the  central  dome  is  fine  in 
its  contour,  its  details  are  of  the  most  debased  cha- 
racter. —  The  Seljukian  style  was  followed  in  the 
palace  and  public  monuments,  amongst  which  the 
numerous  drinking  fountains,  with  their  rich  orna- 
mental decorations  in  inlaid  marble  are  the  most 
remarkable.  In  the  cemeteries  adjoining  Constantinople  the  tombs,  consisting  of  vertica 
slabs  of  stone  richly  carved  with  ornament,  are  interesting  examples  of  the  Ottoman  style. 


Tomb  Stone  at 
Constantinople  (Normand). 


216 


MAHOMETAN  ORNAMENT. 


Plate   122. 


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Plate  123. 


MAHOMETAN  ORNAMENT. 


217 


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218 


MAHOMETAN  ORNAMENT. 


Plate  124. 


MAHOMETAN  ORNAMENT.  219 

Plate  122. 

Elements  of  Ottoman  Architecture. 
(After  Sebah,  Die  ottomanische  Baukunst.) 


Fig.  1,  and  8.    Stalactite  capitals,  after  Sinan. 

„  2,  and  4.    Pedestal  of  column,  after  Sinan. 

„  3.    Stalactite  capital  and  principal  cornice. 

„  5,  6,  and  7.    Various  capitals  of  piers. 


Plate  123. 

(After  Sebah,  Die  ottomanische  Baukunst.) 

Fig.  1.  Frontal  with  ornamental  Cufic  characters  from  the  Yeshil-Jami  mosqe  in 
Brusa.  This  mosque  was  completed  by  the  architect  Ilias  Aali  in  the  year  827 
Mahometan  time,  which  in  our  time  correspondends  to  the  year  1424  A.  D. 

„     2.    Border  of  a  niche  in  the  Yeshil-Jaml  mosque  in  Brusa. 

„     3,  and  4.     Portal  borders  from  the  same  mosque. 

„     5.     Bronze  trellis  work  in  the  Taouk  Bazaar. 


Plate  124. 

(After  Sebah,  Die  ottomanische  Baukunst.) 


Fig.   1,  and  2.    Finials  of  Ottoman  cupolas. 


»* 


3.  Stalactite  mouldings  on  the  large  window  of  the  Yeshil-Jami  mosque  in  Brusa. 

4.  Glass  window  from  the  same  mosque. 

5.  Decoration  on  bars  of  window  in  the  same  mosque. 

6.  Door  panel  from  the  same  mosque. 


Plate  125. 

(After  Sebah,  Die  ottomanische  Baukunst.) 

Fig.  1.  Frieze  with  glazed  brick  from  the  Yeshil-Jaml  mosque  in  BrOsa. 

„  2,  4,  and  5.     Iron  mountings. 

„  3.  Shaft  of  column  from  the  tomb  of  Sultan  Suleiman. 

„  6.  Bronzo  lattice  work. 

„  7.  Window  with  pierced  work  dating  from  the  time  of  Sultan  Selim. 

„  8.  Ceiling  from  the  Yeshil-Jami  mosque  in  Brusa. 

„  9.  Paving-tile  ornament. 


220 


MAHOMETAN  ORNAMENT. 


Plate  125. 


Plate  126. 


MAHOMETAN  ORNAMENT. 


221 


222 


MAHOMETAN  ORNAMENT. 


Plate  126. 

Fig.   1,  2,  and  4.    Taken  from  a  fountain  in  Pera,  Constantinople  (Owen  Jones). 

3.     From  a  tomb  in  Constantinople  (Owen  Jones). 
„     5,  and  6.    From  the  Yeni  Jami  mosque  in  Constantinople  (Owen  Jones). 
„     7,  and  8.     Glazed  clay  ornaments  from  the  tomb  in  Mouradieh  (Dolmetsch). 
„     9,  10,  and  18.    Glazed  clay  ornaments  from  the  tomb  of  Mahomet  I.  (Dolmetsch). 
11  —  13,  16,  and  19.    Glazed  clay  ornaments  from  the  mosque  of  Yeshil-Jami  at 
Briisa  (Dolmetsch). 
„     14,  and  15.    From  tomb  of  the  Sultan  Suleiman  I.,  Constantinople  (Owen  Jones). 
17.    Decoration  of  the  dome  Sultan  Suleiman  I.  in  Constantinople  (Owen  Jones). 


Ornamental  Pea-tendril. 

Transition  from  naturalistic  to  Ottoman  Ornament 
(Sebah,  Die  ottomanische  Baukunst). 


Plate  127. 


MAHOMETAN  ORNAMENT. 


223 


«J    .f    *     'i  _f'     '1^"  .|J"   .!>     ".."I    "I    i'  J'     ».'' 


224 


MAHOMETAN  ORNAMENT. 


Plate  128. 


T^^  t       1   -  T-— r     I      ( -    T 


MAHOMETAN  ORNAMENT.  225 


Persian  Ornament. 

Although  in  its  system  of  ornamentation  Persian-Islamite  art  followed  the  fundamental 
principles  of  Mahometan  art,  still,  its  most  marked  characteristic  feature  consisted  in  the 
employment  of  richly  coloured  glazed  tiles.  The  extreme  loveliness  and  beauty  of  the  archi- 
tectural structures  of  the  ancient  Kaliphate  under  Haroun-al-Raschid  in  Bagdad  and  Ispahan 
are  due  to  this  method  of  ornamentation.  Although  the  geometric  Ornament  in  this  style 
does  not  show  such  prolific  combinations  as  that  of  the  Saracens  or  the  Moors,  its  vegetable 
Ornament,  on  the  other  hand,  with  its  greater  variety  while  keeping  close  to  nature,  more 
than  makes  up  for  it.  Persian  art  reached  its  highest  glory  towards  the  end  of  the  19th  century. 


Plate  127. 

From  Ispahan. 
(After  Dolmetsch,  Ornamentenschatz.j 

Fig.   1,  and  2.  Spandrels  from  the  college  or  Medress6  of  Madsri-Chah-Sultan-Hussein. 

3.  Openworked  window-arch  of  stone.    The  dotted  background  is  stained  glass. 

4.  and  6.    Finials. 

5.  Faience  tile,  16th  century. 
„     7.    Border  of  faience. 

8.  Openworked  window-case  of  stone  (belongs  to  Fig.  3). 

9,  and  11.     Columns. 

„    10.    Minaret  of  the  mosque  Mesdjid-i-Chah. 
.,    12.    Wall  border. 


Plate  128. 

(After  Friedrich  Sarre,  DenkmSler  der  persischen  Baukunst.) 

Fig.  1.    Tile  paintings  from   a  palace  of  Shah   Abbas  the  Great.     In   possession  of 
F.  Sarre. 

2.  Wainscot  in  the  dome  of  the  Medresse  of  the  Kora  Tai  in  Konia. 

3,  and  4.  Wainscot  in  the  Liwan  of  the  Court  of  Medresse  Sirtscheh  in  Konia. 
„  5.  Brickwork  mosaic  from  the  mausoleum  of  Mumine  Chatun  in  Nakhichewan. 
„     6.    Inscription  from  the  same  mausoleum. 


Plate  129. 

(After  Friedrich  Sarre,  Denkmaier  der  persischen  Baukunst.) 

Fig.  1.    Faience  mosaic  from  the  dome-chamber  in  the  Blue  Mosque  at  Tabriz. 
„     2.    Brickwork  mosaic  in  the  mausoleum  of  Mumine  Chatun  at  Nakhichewan. 
,,     3—5.    Mural  decorations  in  the  dome  chamber  of  the  Medress6  of  Kari  Tai. 
in  Konia. 


SPELTZ,  Styles  of  Ornament.  IS 


226 


MAHOMETAN  ORNAMENT. 


Plate  129. 


Plate  130. 


MAHOMETAN  ORNAMENT. 


227 


15^ 


228 


MAHOMETAN  ORNAMENT. 


Plate  130. 

Fig.   1.    Copper  vessel  from  Kaschan  (Dolmetsch). 

2,  and  3.    Ornaments  from  tlie  British  Museum  (Owen  Jones). 

4.  Wall  decoration  of  faience  tiles  (Dolmetsch). 

5,  11,  and  12.   Ornamental  work  on  metal  vessels  (Dolmetsch). 

6.  Glazed  ball  (Dolmetsch). 

7,  and  8.   Old-Persian  faience  plate  in  the  Cluny  Museum,  Paris  (Dolmetsch). 
9,  and  10.    Fragments  of  knives  and  forks  (Dolmetsch). 

13.  Persian  carpet,  16'^  century  (Dolmetsch). 

14.  Manuscript  painting  from  the  Koran  (Dolmetsch). 


Faience  decoration  from  the  mosque  of  Sheik  Safi  in  Ardebil 

(F.  Sarre). 


Plate  131. 


MAHOMETAN  ORNAMENT. 


229 


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230 


MAHOMETAN  ORNAMENT. 


Plate  132. 


MAHOMETAN  ORNAMENT.  231 


Indo-Saracenic  Ornament. 

When  Islamism  made  is  appearance  in  India  in  the  12'h  century,  it  found  already  there 
an  ancient  style  of  art  which  was  characterised  by  great  elaboration,  a  distinction  which  very 
naturally  became  also  associated  later  on  with  Indo-Saracenic  ornamentation.  The  buildings 
erected  at  this  period  display,  however,  a  peculiar  splendour  entirely  their  own,  a  splendour 
which  very  often  rises  into  the  most  luxurious  beauty.  This  style  of  ornamentation,  made 
up  of  ancient  Indian  elements  and  of  Saracenic  art,  reached  its  highest  glory  in  the 
16th  century,  plants  in  natural  style  being  preferred  to  the  geometric  ornament  of  the  Moors. 
The  Saracenic  restriction  laid  down  by  the  Koran  that  living  animals  should  not  be  repre- 
sented artistically  was  not  regarded  either  in  the  Indo-saracenic  or  Persian  art. 


Plate  131. 

Fig.  1.    From  the  temple  at  Vijayananagar,  Dravidian  style,  1434  (Uhde). 
„     2,  and  3.    From  a  minaret  in  Ahmedabad,   built  in  the  years  1430—1450  (Uhde). 

Figure  2  is  to  be  placed  above  fig.  3. 
„     4.    Principal  entrance  to  the  mosque  at  Jaunpur,  1438—1448  (Uhde). 
„     5.    Wood  Carving  from  Burma  (Dolmetsch). 


Plate  132. 

Fig.  1.    Pierced-panelling  in  sandstone,  from  Futtipore-Sikri  (Dolmetsch). 
„     2.    Window  from  a  house  in  Amritza  (Indian  Architecture  and  Ornament). 
„     3.    Piers  from  the  mosque  Ranee  Sipre  in  Ahmedabad  (Indian  Architecture  and 

Ornament). 
„     4.    Column  from  the  palace  of  the  Shah  Jehan  in  Agra  (Indian  Architecture  and 

Ornament). 
„     5.    Arch  from  the  palace  of  Amber  (Indian  Architecture  and  Ornament). 


'ig 

.   1. 

2. 

3. 

4. 

5. 

G. 

7. 

8. 

9. 

10. 

Plate  133. 

Copper  flagon  in  the  Munich  museum  (Libonis). 

Dancer's  costume  from  Ceylon  (Libonis). 

Mahout's  lance  (Libonis). 

Embroidered  quiver  (Libonis). 

Powder-horn  (Libonis). 

Faience  plate  (Libonis). 

Battle-axe  with  etched  ornament  (Dolmetsch). 

Vase  of  incrusted  silver  (Libonis). 

Faience  jug  (Libonis). 

Damascened  vase  (Libonis). 


232 


MAHOMETAN  ORNAMENT. 


Plate  133. 


Plate  134. 


MAHOMETAN  ORNAMENT. 


233 


^axM^M^^^^M^^^»^<j^ 


234 


MAHOMETAN  ORNAMENT. 


Plate  134. 

Fig.   1,  and  9.    Ornament  from  damascened  metal-work  (Dolmetsch). 

2.  Mahout's  lance,  enamelled  (Dolmetsch). 

3.  Gold  embroidered  State  sunshade  (Dolmetsch). 

4.  and  5.     Embroidered  fans  (Dolmetsch). 

6.  Frieze  from  an  iron,  silver  damascened,  vase  (Libonis). 

7.  Marble  inlaid-work  from  the   monuments   of  Shah  Jehan   and  the  Begum 
Muntaz-i-Mahal  (Dolmetsch). 

8.  Ornamental  work  from  metal  vessels  (Dolmetsch). 


Decorative  work  on  a  damascened  shield,  gold  on  steel, 
in  the  Ethnographical  Museum  of  the  Louvre  (I'Art  pour  tous). 


GOTHIC  ORNAMENT. 


^^^V^  orthern  France  began  to  evolve  the  Gothic  from  the 
^  Romanesque  style  when  this  latter  had  arrived  at 

its  fullest  development.  The  new  style,  which 
spread  rapidly  over  England,  Germany,  Italy,  Spain 
and  other  countries,  owed  its  origin  to  that  desire 
for  a  freer,  more  intellectual  development  which 
animated  the  peoples  of  Europe  about  the  year  1 200, 
and  to  a  thorough  change  in  the  entire  civilised 
life  of  the  period.  On  one  side  were  abstract 
intellectual  ideas,  on  the  other,  intensive,  impulsive 
emotionalism,  and  religious  mysticism.  These 
various  feelings  found  their  expression  in  the  deve- 
lopment of  the  Gothic  style,  which,  although  it 
originally  proceeded  from  Northern  France,  was 
ultimately  regarded  as  the  expression  af  a  pure 
German  style.  With  the  exception  of  a  few  de- 
generate examples  in  later  work,  the  Ornament  in 
the  Gothic  style  is  always  kept  in  strictest  sub- 
ordination to  the  Form.  It  never  overgrows  or 
conceals  the  masonic  substructure,  but,  on  the  contrary,  is  specially  employed 
to  supplement  and  complete  the  expression  of  the  Form  in  a  harmonious  manner. 
The  principal  Ornament  of  Gothic  is  the  leaf-moulding,  the  plants  being  always 
selected  from  native  Flora,  the  manner  in  which  they  are  worked  being  in  nearly 
every  case  a  pretty  sure  guide  to  the  period  in  which  they  were  produced.  In 
Early  Gothic,  in  the  13*''  century,  the  leaves  were  nearly  always  more  or  less 
conventionalized  with  a  slight  naturalistic  leaning.  Later  on,  the  leaves  were 
produced  with  more  force  and  energy,  becoming  finally,  in  Late  Gothic,  much 
more  naturalistic  in  their  form.  During  this  epoch  they  were  thick  set  in  appe- 
arance, and  were  also  sometimes  very  much  under  cut,  two  circumstances  which 
resulted,  first  in  imparting  stiffness  and  rigidity,  and  secondly,  from  the  sharp 
contrasts  of  light  and  shade  which  the  hollow  leaves  produced,  in  giving  them 
constantly  varying  movement.  In  the  selection  of  plants,  symbolic  allusions  were 
also  often  taken  into  account.    The  figures  of  men  and  animals  made  use  of  in 


From  an  English 
14th  century  manuscript 

(Owen  Jones). 


236  GOTHIC  ORNAMENT. 

the  Gothic  were  employed  in  very  many  cases  in  a  humorous  and  exaggerated 
manner.    The  name  Gothic  has  no  connection  whatever  with  the  Goths. 

Already  in  the  Romanesque  style  will  be  found  nearly  all  the  essential 
principles  of  the  Gothic  style,  so  much  so  that  it  was  at  one  time  suggested 
to  give  the  term  of  round  arched  Gothic  to  its  complete  development  at  the 
commencement  of  the  12*^  century;  the  title  Romanesque  is,  however,  that  by 
which  it  is  best  known  and  therefore  has  been  adhered  to  here. 

The  term,  however,  is  generally  applied  to  all   its  phases,   which  vary  in 
different  countries;  thus  in  North  Italy  the  term  Lombard  is  generally  followed. 
In  central  and  south  Italy  it  is  known  as  Central  and  Southern  Romanesque,  in 
Sicily   as   Siculo- Norman.     In  North  Germany   it   is   called   Rhenish;   in   North 
France,  Norman,  in  the  South,  ProvenQal  or  Perigordian,  and  in  England  as  Saxon 
and   Norman.     These  various   developments  were   all   based    on    constructional 
requirements  and  the  materials  employed,  but  these  elements  form  no  part  of 
the  province  of  this  work,  dealing  as  it  does  with  ornament  only.    At  the  same 
time  it  is  impossible  to  dismiss  some  of  the  early  Evolutions  which  took  place, 
as  they  form  the  ground  work  both  in  the  Romanesque  and  Gothic   styles  for 
the  ornament  applied  to  them.    The  variety  of  the  ornament  which  is  found  on 
the  doorways  and  windows  of  the  Norman   style,   such   as   are   illustrated  on 
Plates  81,  88,  93,   95  and  99,   and  which  eventually  led  to  that  of  the  great 
portals  of  the  French,  Spanish  and  English  cathedrals,  and  of  which  an  example 
at  Beverley  is  shewn  on  plate  158,  cannot  be  correctly  understood  without  some 
reference  to  their  construction.     In  order  to  emphasize  and  give  importance  to 
the  entrance  doorway,  a  series  of  concentric  arches  were  thrown  one  above  the 
other,   some   times   called   "orders",   each   one  projecting   further  than   the   one 
beneath,  to  this  characteristic  Sir  Gilbert  Scott  gave  the  title  of  "subordination 
of  the  arches".     The  Roman,  Byzantine,  and  many  of  the  Italian  Romanesque 
arches  were  all  in  one  plane.    In  France,  Germany  and  England,  and  especially 
in  .the  latter  country,  there  are  many  planes  formed  by  the  concentric  rings  of 
masonry  one  on  the  other,   and  these  are  all  moulded  and  sometimes  carved 
with  the  designs  shewn  on  plate  99,  but  the  subordination  of  arches  led  to  a 
subdivision   of   the   piers  carrying  them  and  to  the   employment   sometimes   of 
shafts  or  columns  as  a  means  of  decoration  and  accentuation.     On  Plate  81, 
Fig.  3  for  instance,  are  two  angle  shafts,  each  of  which  has  a  differently  orna- 
mented capital,  and  the  same  on  Plate  93,  Fig.  3.     In  the  Gothic  style  Fig.  1, 
3,  11,  Plate  136   are   examples   of  the  variety   of  design  of  the   capitals    on 
compound  piers  and  in  Fig.  1,   Plate  158,  are  illustrated  many  slender  shafts, 
each  with  its  respective  capital,  which  gives  variety  and  change  to  the  main 
design.    There  is  in  fact  in  the  evolution  of  the  Romanesque  and  Gothic  styles 
that  characteristic  to  which  reference  has  already  been  made,  viz,  that  the  orna- 
ment is  specially  employed  to  supplement  and  complete  the   impression  of  the 
Form  in  a  harmonious  manner. 


GOTHIC  ORNAMENT. 


237 


In  the  earlier  Gothic  style,  the  foliage  has  a  certain  conventional  character, 
which  will  be  seen  in  plates  135  and  146.  About  the  middle  of  the  13**^  cen- 
tury it  became  more  naturalistic,  as  shewn  on  plates  136  and  137,  and  this 
tendency  increased  in  the  14*^  century,  so  that,  as  in  Fig.  3,  4,  and  9,  Plate  162, 
the  sculptor  would  seem  to  have  imitated  the  natural  leaves  so  far  as  the 
material  would  allow,  this  is  specially  the  case  in  the  porch  of  the  Chapter 
House  of  Southwell  Cathedral.  At  a  later  period,  and  especially  in  Germany, 
the  ornament  became  very  debased,  and  what  were  originally  constructive  fea- 
tures, such  as  the  shafts  of  compound  piers,  were  looked  upon  as  decorative 
features,  as,  for  instance,  the  columns  of  St.  Blasius  Cathedral  in  Brunswick,  of 
the  \5^^  century.  Fig.  5,  Plate  162,  where  they  are  carried  spirally  round  the 
columns.  The  ribs  of  the  tracery  in  panels  were  cut  short,  forming  stumps  as 
in  Fig.  8,  Plate  161,  having  no  sense  of  fitness  or  beauty. 

On  the  other  hand,  in  her  wrought  metal  work  Germany  takes  the  lead  in 
the  15^^  century  and  it  would  be  difficult  to  find  more  magnificent  specimes 
than  those  which  are  illustrated  on  plate  1 73,  where  the  decorative  forms  follow 
closely  the  nature  of  the  material  in  wrought  iron  or  bronze.  The  Gothic  let- 
tering engraved  on  the  bronze  plates  of  tombs,  as  illustrated  on  plate  175  shews 
how  beautiful  a  surface  or  flat  ornament  inscription  can  become,  having  the 
additional  value  of  being  an  historical  record.  In  the  German  initial  letters  also 
represented  on  plate  174  there  is  a  plethora  of  design  of  the  most  beautiful 
character. 


From  a  German  15th  century  manuscript  (Dolmetsch). 


238 


GOTHIC  ORNAMENT. 


Gothic  Ornament  in  France. 


ery  gradually  from  Northern  France,  where  its  origin  is  to  be 
found,  Gothic  architecture  spread  over  the  whole  of  Christian 
Europe.    After   many  constructive  attempts   made  both   at 
Autun  and  Vezelay,  Abbot  Suger  finally  erected  in  the  years 
1141_1144    the   ADbey   Church    of   St.  Denis.    Although 
this  church    shows  very   many  traces  of   Romanesque  in- 
fluence,  as  do  all  Early  Gothic  buildings,  and  is  a  combi- 
nation of  old  architectural  habits  with  new  ideas,   it  is  still 
the  first  and  most  important  example  of  Gothic  architecture. 
That  great   master-piece   of  Early  Gothic,  the  cathedral  of 
Notre  Dame  in  Paris,  was  erected  in  the  years  1163—1182. 
Towards   the  beginning    of  the  13th  century  the  complete, 
fully-developed  and   fully-ripened  form  of  the  Gothic  was 
finally  arrived  at,  from  which  time  it  began  to  flourish  until  it  developed  at  last 
into   the  period  of  its  highest  glory.    The  after-growths  of  the  Gothic  in  the 
14th  and  15'h  century  were  called,  in  Germany  Late-Gotic,  but  were  designated 
in  France  as  the  Flamboyant  Style.    The  desire  for  greater  lightness  becoming 
now  apparent,   and  the  purity   of  design  being  neglected  at  the  same  time,    it 
finally  happened  that  the  Ornament  grew  apace  and  masked  the  form,   a  fate 
v/hich  in  the  end  overtook  almost  all  styles  of  architecture. 


From  a 
14th  century 
Manuscript 

(Racinet). 


Principal  cornice  from  Notre  Dame  de  Paris  (Violiet  le  Due). 

Base  from  Paris  Cathedral  (Viollet  le  Due). 

Cornice  from  the  Notre  Dame  at  Chalons  (Viollet  le  Due). 


Plate  135. 


GOTHIC  ORNAMENT. 


239  J 


240  GOTHIC  ORNAMENT. 

Plate  135. 

Fig.  1.     Finial  from  the  cathedral  of  Paris,  end  of  the  12'h  century  (Opderbecke). 
„     2.    Gallery  from  Rouen  cathedral,  12th  century  (Opderbecke). 
„     3,  and  6.    Crockets  from  a  church  in  Rouen  (Opderbecke). 
„     4.    Gargoyle  from  Reims  cathedral  (Album  de  la  Cathedrale  de  Reims). 
„     5.    Eagle  from   the  apse  gallery  in  Reims  cathedral   (restored).     (Album  de  la 

Cathedrale  de  Reims). 
„     7.    Finial  from  the  southern  tower  of  Chartres  cathedral,  12th  century  (Opderbecke). 
„     8.    Cavetto  ornament  from  the  Abbey  church  at  Larchant  (Opderbecke). 
„     9.    Finial  from  Amiens  cathedral,  1230  (Opderbecke). 
„    10.    Spire  from  the  church  at  Poissy,  13'h  century  (Opderbecke). 
„    11.    Capital  of  pier  from  Notre  Dame,  Paris  (G.  Dehio,  and  G,  von  Bezold,  Die 

kirchliche  Baukunst  des  Abendlandes). 
„    12.    Cross  in  Reims  cathedral  (Album  de  la  Cathedrale  de  Reims). 


Plate  136. 


Fig.  1.  Capital  from  Amiens  cathedral,  1240  (Opderbecke). 

„  2.  Capital  from  middle  of  13th  century,  after  Viollet  le  Due. 

„  3.  Capital  from  the  church  of  St.  Chapelle,  Paris,  1240  (Opderbecke). 

„  4.  Capital  from  the  church  of  St.  Martin  des  Champs,  Paris,  1220  (Opderbecke). 

„  5,  and  7.    Capitals  from  the  cathedral  at  Bayeux,  Calvados  (Raguenet,  Materiaux) 

„  6.  Capital  from  the  church  at  Sens  (Salle  synodiale),  1240  (Opderbecke). 

„  8.  Capital  from  the  church  at  Vezelay,  middle  of  13th  century  (Opderbecke). 

„  9.  Base  in  crypt  of  the  church  at  Rosnay  (Aube),  (Raguenet,  Materiaux). 

„  10.  Base  of  stair-baluster,  Lyons  (Raguenet). 

„  11.  Capital  from  the  cathedral  at  Nevers  (Album  der  Kathedrale  von  Reims). 

„  12.  Base  from  the  church  at  Brou  (Ain),  (Raguenet). 


Plate  137. 

Gothic  Flora. 
^From  Viollet  le  Due,  Dictionnaire  Raisonn6  de  I'architecture  Fran^aise  du  Xle  au  XVI^  siecle.) 

Fig.   1.     Cavetto  moulding,  with  vine  leaves  and  grapes. 

2,  4,  and  10.     Conventionalished  arum. 

3.  Fig-leaf. 


5 
6 
7 
8 
9 
11 


Leaf  of  the  bellflower. 

Cavetto  mouldings,  maple-leaf  and  flowers. 

Cavetto  mouldings,  cress  leaves  and  seed. 

Parsley-leaf. 

Conventionalised  lily. 

Leaf  of  the  meadow-rue. 


Plate  136. 


GOTHIC  ORNAMENT. 


241 


SPELTZ,  Styles  of  Ornament. 


16 


242 


GOTHIC  ORNAMENT. 


Plate  137. 


Plate  138. 


GOTHIC  ORNAMENT. 


243 


16' 


244  GOTHIC  ORNAMENT. 

Plate  138. 

Fig.  1.    Spandrll  from  the  church  of  St.  Severin  in  Bordeaux,  1247  (Viollet  le  Due). 
„     2.   Stone  vase,  13th  century;  found  in  Aix,  Provence  Raguenet,  Materiaux). 
„     3.   Doorway  of  the  church  of  St.  Genest  at  Nevers,  middle  of  the  12th  century 

(Viollet  le  Due). 
„     4.   Boss  of  vault  from  the  priory  of  St.  Martin  des  Champs,  Paris,  13th  century 

(Raguenet"). 
„     5.    Door-knocker  from  Cordes,  Tarn  (Raguenet). 
„     6.    Door-knocker  from  Bayonne,  13th  century  (Raguenet). 
„     7,  and  9.   Boss  of  vault  from  the  church  of  St.  Severin,  Paris  (Raguenet). 
„     8.   Arcade  from  St.  Chapelle,  Paris,  15th  century  (Raguenet). 
„    10.   Doorway  of  the  Episcopal  palace  at  Beauvais,  Oise,  16th  century. 


Plate  139. 

(Gothic  mural  painting  after  P.  G^lis-Didot  et  H.  Laffillee,  La  peinture  decorative  en  France 

du  Xle  au  XVIe  siecle.) 

Fig.  1.   Stencil  painting  from  the  church  of  Chateloy  near  Herisson,  Allien 
„     2.   Frieze  painting  from  Coney  Castle  (Aisne). 
„     3.   From   the   roof  of  the   church  at  Cunault,  Maine  et  Loire,  beginning  of  the 

14th  century. 
„     4 — 6.   Textile  paintings  in  the  chancel  of  Amiens  cathedral.    These  patterns,  which 
have  had  their  origin,  without  any  doubt,  in  the  Orient,  were  also  very  frequently 
used  in  flat-painting. 

7.  From  the  chapel  of  St.  Antony  In  the  cloister  of  the  Jacobines  in  Toulouse. 

8.  From  the  church  of  the  Jacobins  in  Agen. 

9.  From  the  church  at  Romans  (Drome). 

10.  From  the  chapel  of  Saint-Cr^pin  in  Evron  (Mayenne). 

11.  From  the  church  of  Saint-Ours  in  Loches  (Indre  et  Loire). 

12.  From  the  sacristy  of  the  cathedral  at  Clermont. 

13.  From  the  chapel  at  Pritz  (Mayenne).    This  represents  the  month  of  September, 
and  is  one  of  the  12  Panels  which  illustrate  the  twelve  months  of  the  year. 


Plate  140. 

Fig.    1,  and  2.    Belt  with   knife,    15th   century   (Viollet  le   Due,   Dietionnaire  raisonn^  du 
mobilier  fran^aise). 
„     3.   Reliquary,  in  the  Cluny  museum,  a  crystal  cylinder  with  gilt  copper  mountings 
(Viollet  le  Due). 

4.  Coiffure  of  Queen  Isabel  of  Bavaria,  1395  (Viollet  le  Due). 

5.  Buckle,  14th  century  (Viollet  le  Due). 

6.  Embroidered  Prayer-book  Bag,  14th  century  (Viollet  le  Due). 

7.  Purse,  15th  century  (Raeinet,  Le  costume  historique). 

8.  Lock  of  coffer  Viollet  le  Due). 

9.  Harness,  15th  century  (Viollet  le  Due). 


Plate  139. 


GOTHIC  ORNAMENT. 


245 


246 


GOTHIC  ORNAMENT. 


Plate  140. 


Plate  141. 


GOTHIC  ORNAMENT. 


247 


'  PSi-''<i2^'G.'i\ '  ' 

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^^^^ 

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1^^^ 

m 

248 


GOTHIC  ORNAMENT. 


Plate  141. 

Fig.  1,  and  3.   Textile  pattern,  15th  century  (Gelis-Didot  et  Laffillee). 

„  2,  and  8.   Enamel-work  on  copper  (Roger-Miles). 

„  4.   Armour,  14th  century  (Roger-Miles). 

„  5.   Glass  painting  from  Bourges  cathedral  (Owen  Jones). 

„  6.   Glass  painting  from  Angers  cathedral  (Owen  Jones). 

„  7,  and  9.    Textile  patterns,  16th  century  (Gelis-Didot  et  Laffillee). 


Fig.  1. 


2. 
3. 
4. 
5. 


Plate  142. 

Painting  from  a  prayer-book  in  the  National  Library  at  Paris.    The  Latin  text 

dates  from  the  year  1398,  the  painting,  which  has  been  ascribed  to  Israel  of  Mekenen 

is,  however,  of  a  later  period. 

Stall  i  Cluny  museum,   15th  century  (E.  Bajot,  Collection  des  Meubles  anciens). 

Credence  table,  15th  century  (Raguenet). 

Stool  from  the  bedroom  of  Louis  XI. 

Lorraine  wooden  coffer  in  the  museum  at  Cluny,  14th  century  (Bajot). 


Plate  143. 

Fig.  1.  Napkin  border,  16th  century  (Raguenet). 

„  2.  Printed  cloth,  15th  century  Raguenet). 

„  3.  Goblet,  with  transparent  enamel  (Havard). 

„  4.  Antique  cameo,  said  to  be  portrait  of  King  Charles  V  (Havard). 

„  5.  Processional  crucifix  of  beaten  silver,  chased  and  gilt  (Havard). 

„  6.  Silver  cooling-tankard  (Havard). 

„  7.  Altar  candlestick  of  chased  silver  (Havard). 

„  8.  Prayer-book  belonging  to  St.  Louis  (Havard). 

„  9.  Bread-knife,  In  gilt  silver  filigree-worked  sheath  (Havard). 

„  10.  Wine  cup  in  Silver  gilt,  in  the  cathedral  at  Reims  (Havard). 

„  11.  Neck  ornament  and  goblet  of  the  Niveller  rifle-corps  (Havard). 

„  12.  Ebony  coffer  in  the  Cluny  museum  (L'art  pour  tous). 


Rose  window  from  the  Abbey  at  Braisne  (Viollet  le  Due). 
Base  from  the  Cathedral  of  Maux  (Viollet  le  Due). 


Plate  142. 


GOTHIC  ORNAMENT. 


249 


250 


GOTHIC  ORNAMENT. 


Plate  143. 


rx»»**¥>f*jft****  r\fm)fL*j!U!J*^*x  TXrt  gf** 


^-J*- 


Plate  144. 


GOTHIC  ORNAMENT. 


251 


252 


GOTHIC  ORNAMENT. 


Gothic  Ornament  in  the  Netherlands. 


nto  the  Netherlands,  Gothic  architecture  soon  made  its 
way,  a  most  natural  circumstance  considering  how  near 
that  country  lay  to  France,  the  land  where  the  Gothic 
style  had  its  origin.  Varied  specimens  of  Gothic  archi- 
tecture appeared  all  over  Belgium,  but  in  Holland,  where 
this  style  was  latter  on  very  strongly  influenced  by 
Germany,  and  where,  for  obvious  reasons,  plain  brick- 
work architecture  had  to  predominate,  the  examples 
are  far  more  simple  and  not  so  varied.  One  very 
remarkable  and  most  peculiar  feature  of  the  Gothic 
style  in  Belgium  consists  in  the  extreme  care  with  which 
the  entire  decorative-work,  even  the  very  minutest 
details,  is  carried  out.  The  most  important  cathedral 
in  Holland,  Utrecht  was  built  by  Bishop  Henry  of  Vianden  in  the  years  1251— 1267;  the  most  im- 
portant Gothic  monument  in  Belgium  being  the  celebrated  cathedral  of  Antwerp,  which  was 
begun  by  Jean  Amel  of  Appelmans  from  Boulogne  in  the  year  1352.  The  finest  examples  of 
Gothic  architecture,  however,  were  the  Town  Hals,  the  most  beautiful  specimen  being  in  Louvain. 

Plate  144. 

(After  Ysendyck,  Art  dans  les  Pays-Bas.) 
Embroidery-work  from  the  frock  of  a  king-at-arms,  during  the  reign  of 
Philip  II.  The  Spanish  coat  of  arms  are  embroidered  in  coloured  silk  on  a  foundation  of 
carmine-red  velvet.  Two  robes  similar  to  this  are  still  preserved  in  the  arsenal  at  Madrid. 
Window  from  the  cloister  of  St.  Servais,  Maestricht,  15'h  century. 
Chimney-piece  in  blue  stone  from  the  Pas-perdus  Hall  in  Mons,  15th  century. 
Balustrade  of  granite,  16'h  century.  This  is  employed  at  present  plinth  for  a 
copper  grating  in  the  church  of  Walburg  in  Furnes. 


Initial  from  Israel  of  Mekenen 

(Hirth). 


Fig.  1. 


2. 
3. 
4. 


Wrought  iron  hinge  on  the  door  of  the  treasury  chamber  in  the 
cathedral  of  St.  Paul,  Liege  (L'art  pour  tous). 


Plate  145. 


GOTHIC  ORNAMENT. 


253 


fjr^2ircrr^i_iL_i_J 


254 


GOTHIC  ORNAMENT. 


Plate  145. 

Fig.  1.  Flemish  sculpture,  ISth  century  (Raguenet). 

2.  Brass  wine  goblet,  15th  century  (Ysendyck,  Art  dans  les  Pays-Bas). 

3.  Tabernacle  door  of  wrought  iron,  15'^  century  (Ysendyck,  Art  dans  les  Pays-Bas). 

4.  Wrought  iron  candlestick,  IS'h  century  (Libonis). 

5.  Lectern  from  the  church  at  Tongres,  IS^h  century  (Raguenet). 

6.  Fountain  from  Quentin-Matsys,  Antwerp,  ISth  century  (Raguenet). 


Gothic  Ornament  in  England. 


William  of  Sens,  an  architect  of  French  origin,  Gothic  was 
employed  in  the  Cathedral  of  Canterbury  which  was 
begun  in  the  year  1175.  Even  in  Westminster  Abbey, 
which  was  erected  in  the  years  1245 — 1300,  French 
influence  is  also  plainly  discernible.  Notwithstanding 
this,  however,  the  Gothic  style  in  England  soon  learned 
to  move  along  on  independent  lines  of  its  own.  The 
English  Gothic  Tudor  arch  and  the  Ogee  arch,  are 
specially  peculiar  of  late  English  Gothic.  There  are 
three  Gothic  periods  in  England. 

1.  Early  Gothic  (Early  English)  in  the  13th  century, 
characterised  by  the  Lancet  Arch. 

2.  The  Decorated  Style,  so-called  on  account  of 
its  rich  decorative  development. 

3.  The  Perpendicular  Style  in  the  15th  century. 
In  this  style  the  Tudor  and  the  Orgee  Arch  predo- 
minate,   and  the  forms  become  gradually   more  and 

more  fantastic.   The  vaulting  is  carried  to  its  greatest  elaboration,  and  therewith  begins  the 
decline  of  this  style. 


From  a  15th  century 
manuscript  (Owen  Jones). 


Plate  146. 

Fig.  1.   From  Stone  church,  Kent  (Owen  Jones). 

2,  and  4.    From  Wells  cathedral,  decorated  style  (Owen  Jones). 

3.  Rosette  from  Oxford  (Pugin,  Gothic  Ornament). 
5,  and  6.    Capitals  from  Warmington  church,  Northamptonshire  (Owen  Jones). 

7.  Capital  from  Wells  cathedral,  early  English  (Owen  Jones). 

8,  and  9.   Leaf  mouldings  from  Trinity  Stratford-on-Avon  (Pugin). 


Plate  146. 


GOTHIC  ORNAMENT. 


255 


256 


GOTHIC  ORNAMENT. 


Plate  147. 


Plate  148. 


GOTHIC  ORNAMENT. 


257 


SPELTZ,  Styles  of  Ornament. 


17 


258  GOTHIC  ORNAMENT. 

Plate  147. 

(After  Pugin,  Gothic  Ornament.) 

Crocket  from  Winchester  cathedral. 

Finial  to  a  stall  in  All  Soul's  College  Chapel,  Oxford. 

Portion  of  Stone  canopy  from  York  minster. 

Crocket  from  Trinity  church,  Stratford-on-Avon,  Warwick. 

Finial  of  a  stall  in  New  Walsingham  church,  Norfolk. 

Capital  from  St.  Saviour's  church,  Southwark. 

Stringcourse  from  Winchester  cathedral. 


Fig- 

1. 

f  1 

2. 

II 

3. 

)t 

4. 

>» 

5. 

II 

6. 

7. 

Fig. 

1. 

11 

2. 

>l 

3. 

»l 

4. 

i» 

5. 

Plate  148. 

(After  Pugin,  Examples  of  Gothic  Architecture.) 

Turret  over  entrance  gateway,  East  Barsham  manor  house,  Norfolk. 

Window  from  the  Cloisters,  New  College,  Oxford. 

Monument  of  Sir  Richard  Carew,  Beddington  church,  Surrey. 

Oak  Tracery  at  the  back  of  stalls  in  All  Soul's  College  chapel,  Oxford. 

Canopy  to  one  of  the  stalls  in  St.  Catherine's  church.  Tower  Hill,  London. 


Plate  149. 

(After  Pugin,  Examples  of  Gothic  Architecture.) 

Fig.  1—3.    Sin  bracket,  George  Inn,  Glastonbury. 
,,     4.    Window  in  gable  of  the  Abbot's  Barn,  Glastonbury. 
,,     5,  6,  and  8.    Details  from  the  Abbot's  Barn,  Glastonbury. 
„     7.    Window  from  Raglan  Castle,  Monmouthshire, 
„     9.    Canopy  on  the  west  front  of  the  chapel  at  Houghton-in-the-Dale,  Norfolk. 


Plate  150. 

(After  Pugin,  Examples  of  Gothic  Architecture.) 

Fig.   1.    Panel  from  the  Common  room  of  the  Vicar's  Close,  Wells. 
,,     2,  3,  5,  6,  and  8.     Details  from  the  banqueting  hall  of  the  Manor  House,  Great 
Chalfleld,  Wilts. 
4,  7,  9.     Details  from  the  western  doorway  of  Magdalen  College,  Oxford. 
„      10.     Chimney-piece  in  the  Bishop's  palace.  Wells. 


Plate  151. 

(After  Pugin,  Examples  of  Gothic  Architecture.) 

Fig.  1.  Oriel  window  on  the  north  side  of  the  quadrangle  of  Balliol  College,  Oxford. 

2.  Canopy  in  Falkenham  church,  Norfolk. 

„     3.  Door  handle,  temp  Henry  VII. 

„     4.  Doorway  at  the  westend  of  Magdalen  College  chapel,  Oxford, 

„     5.  Small  lock  for  a  chest,  temp  Henry  VII. 


Plate  149. 


GOTHIC  ORNAMENT. 


259 


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u* 


260 


GOTHIC  ORNAMENT. 


Plate   150. 


pmM^tul 


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- .—    —  '        if  if      i    f  f 


Plate  151, 


GOTHIC  ORNAMENT. 


261 


262 


GOTHIC  ORNAMENT. 


Plate  152. 


Plate  153. 


GOTHIC  ORNAMENT. 


263 


264  GOTHIC  ORNAMENT. 

Fig.  6.    Fan  vault  from  All  Souls'  College,  Oxford. 
„      7,  8,  and  9.     Moulded    tiles   from   chimney   stacks,   East-Barsham   Manorhouse, 

Norfolk. 
„    10.    Oak  ceiling.  New  Walsingham  church,  Norfolk. 


Plate  152. 

(Talbot  Bury,  Remains  of  Ecclesiastical  Woodwork.) 

Fig.  1—4.     Roof  of  St.  Mary's  church,  Bury  St.  Edmunds. 

„  5,  and  6.    Roof  of  Lavenham  church,  Suffolk. 

„  7,  9,  11,  and  12.     Roof  of  Burford  church,  Oxfordshire. 

„  8,  and  10.    Roof  of  Wantage  church,  Berkshire. 


Plate  153. 

Fig.  1.     Finial  from  Exeter  cathedral,  H'h  century  (Raguenet). 

„  2.    Solid  springer  from  the  same  cathedral  (Raguenet). 

,,  3.     Rosette  from  Chester  cathedral,  15^^  century  (Raguenet). 

„  4.    Font  from  Bradfield  church,  Suffolk  (Raguenet.) 

„  5.     Pulpit  in  Bridgewater  church,  Somersethshire  (Talbot  Bury). 

„  6.     Grotesque  figure,  Oxford  (Pugim. 

„  7.     Panel  from  the  facade  of  Wells  cathedral  (Raguenet). 

„  8—10.    Encaustic  tiles,  14th  century  (Owen  Jones). 


Plate  154. 

Fig.   1.     From   a  stall   in  the  church  at  Weston  Zoyland,  Somersetshire  (^Talbot  Bury, 
Remains  of  Ecclesiastical  Woodwork). 

2.  Chandelier  from  church  at  Piddletown,  Dorset. 

3.  Goblet  of  silver  gilt,  15*^  century  (Libonisi. 

4.  7,  and  8.    From  a  manuscript  of  the  Middle  Ages  (Owen  Jones). 

5.  Coronation  chair  in  Westminster  Abbey  (Libonis). 

6.  Stall  in  Wantage  church,  Berkshire  iTalbot  Bury). 
9.     Stained  glass  window  in  Merton  College  chapel,  Oxford  (Pugin). 

10.    Stained  glass  window  Southwell  minster,  Nottinghamshire  (Owen  Jones). 


Plate  155. 

Fig.  1.    Middle  Gothic  glass-painting  in  Norbury,  Derbyshire. 
„     2.     Lead  glazing  in  Brabourne  church,  Kent. 

3.     Head  of  Queen  of  Sheba  in  window  at  Fairford. 
„     4,  6,  and  8.     Grisaille  glass  from  Salisbury  cathedral. 

6.     Late  Gothic  glass-painting  in  Wells. 
„     7.    Glass  painting,  with  figure  of  Edward  the  Confessor,  St.  Mary's,  Ross. 


Plate  154. 


GOTHIC  ORNAMENT. 


265 


266 


GOTHIC  ORNAMENT. 


Plate  155. 


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Plate  156. 


GOTHIC  ORNAMENT. 


267 


,  o  ~  ot 


7r/".7~4z7r/7n// 


268 


GOTHIC  ORNAMENT. 


Plate  157. 


GOTHIC  ORNAMENT.  269 

Plate  156. 

Fig.  1.    Coffer  in  the  sacristy  in  Louth  church,  Lincolnshire  (Colling). 
„     2.    Panel  from  the  church  at  Trull,  Somersetshire  (Colling). 
„     3,  and  4.    Panels  from  the  font  in  the  church  at  Great  Conerby,  Lincolnshire 

(Colling). 
„     5.    Gilt  iron  lock  from  the  hall  of  Beddington  Manor  House,  Surrey  (Pugin). 


Plate  157. 

(Franklin  A.  Crallan,  Gothic  Woodwork.) 

Fig.   1.  Bench  end,  Breadsall  church,  Derbyshire,  IS'h  century. 

„     2.  Stall  from  St.  Andrew  Gatton,  Surrey. 

„     3.  Canopy  over  the  tomb  of  Edward  III.  in  Westminster  Abbey,  1380. 

„     4.  Door  from  the  church  of  St.  Laurence,  Norwich. 

„      5.  End  of  a  seat  from  Witley,  Surrey,  15ih  century. 

6.  Panel  in  Tudor  Style  from  the  South  Kensington  Museum. 


Plate  158. 


Fig.   1.  West  doorway  of  St.  Mary's  church,  Beverley  (Colling). 

,,      2.  Gate  of  the  Bishop's  Chapel  in  Ely  cathedral  (Bailey  Scott  Murphy). 

„     3.  Doorway  of  the  Presbytery  at  North  Petherton,  Somersetshire  (Colling). 

4.  Door  of  the  church  at  Bocking,  Essex  (Colling). 


F.g. 

1. 

J» 

2- 

11 

5. 

»l 

8. 

yy 

9. 

10. 

Plate  159. 

(Henry  Shaw,  Mediaeval  Alphabets  and  Devices.) 

Lettering  from  the  monument  of  Henry  IIL  in  Westminster  Abbey,  1272. 

4,  6,  and  7.    Letters    from    the   monument   of   Richard    II.   in   Westminster 

Abbey,  1400. 

Letters  from  a  benedictional,  1480. 

Grotesque  lettering  from  a  printed  book,  16'h  century. 

Signature  of  a  wood-engraver,  IS^h  century. 

Initial  from  a  manuscript  in  the  British  Museum. 


Plate  160. 

Ornament  on  English  Monuments. 

(From  C.  A.  Stothard,  The  monumental  effigies  of  Great  Britain.) 

Fig.   1.  From  a  tombstone  in  the  Ingham  church,  Norfolk. 

„     2.  Crown  of  the  Earl  of  Arundel,  died  1487. 

„     3.  Ladies'  coiffure,  15th  century. 

„     4.  Sheath  of  dagger  belonging  to  Lord  Hungerford,  died  1459. 

5.  Crown  of  Queen  Berengaria,  wife  of  Richard  Coeur  de  Lion. 

,,     6.  Shoe  of  Henry  111.,   died  1272,  from  a  tomb  in  Edward  the  Confessor's  chapel. 

7,  and  8.    Bag  and  brooch  of  Queen  Berengaria. 


270 


GOTHIC  ORNAMENT. 


Fig.  9.    Necklace,  15'h  century-. 
„    10,  and  11.    Heads  of  Sir  Edmund  de  Thorpe  and  Lady  in  Ashwelthorpe  church, 

Norfolk. 
„    12.    Spur  of  Sir  Hugh  Calvely,  in  Bunbury  church,  Cheshire. 
„    13.     Belt  buckle  of  the  Earl  of  Warwick. 
„    14.     Hilt  of  sword  belonging  to   Sir  John  Peche,  from  his  tomb  in  the  church  at 

Lullingstone,  Kent. 
„    15,  and  16.    Sword-hilt  and  sword-belt  belonging   to  John  de  la  Pole,   Duke  of 

Suffolk. 
„    17.     Shoe  of  Edward  III.,  died  in  1377,  taken  from  his  tomb  in  Westminster  Abbey. 
.,    18.    End  of  sword-belt,  14th  century. 
,,    19.     Coiffure  of  the  Countess  of  Westmoreland. 
„    20.    Glove  of   Ralph   Neville,   Earl  of  Westmoreland,  from  his  tomb  in  Staindrop 

church  at  Durham. 


Head-dress  of  Beatrice,  Countess  of  Arundel. 

From  a  statue  in  Trinity  church,  ArunJel,  13th  century  (Viollet  le  Ducj. 


Plate  158. 


GOTHIC  ORNAMENT. 


271 


A>-iWMyiWi^aa^^tte'fc.-iVi'gl^-i^Sl 


I 


n 


272 


GOTHIC  ORNAMENT. 


Plate  159. 


^RMHiusirafrEniiiDiisi 


Plate  160. 


GOTHIC  ORNAMENT. 


273 


SPELTZ,  Styles  of  Ornament. 


18 


274 


GOTHIC  ORNAMENT. 


Gothic  Ornament  in  Germany  and  Austria. 


soon  as  the  Gothic  Style  had  well  entered  on  its 
victorious  march  throughout  England,  it  began  also 
to  make  its  way  gradually  throughout  Germany, 
where,  on  account  of  its  French  origin,  it  became 
generally  known  under  the  title  of  "OPUS  FRANCl- 
GENUM".  Although  it  had  not  completely  won  the 
victory  over  Romanesque  Art  until  about  the  commence 
of  the  14th  century,  it  was  nevertheless,  at  this  time, 
fully  perfect  in  all  its  forms.  The  Early  Gothic  con- 
tinued up  until  the  beginning  of  the  H'h  century. 
The  oldest  Gothic  building  in  Germany  is  the  Choir 
in  the  cathedral  at  Magdeburg  which  was  conse- 
crated in  the  year  1234.  The  most  beautiful  specimens 
of  the  Gothic  are  however  to  be  found  in  the  Rhineland  where  the  Gothic  Style  reached 
its  highest  perfection,  the  Cathedral  at  Cologne,  which  was  begun  in  the  year  1248,  being 
its  noblest  work. 


From  a  \5^^  century  Manuscript 

(Dolmetsch). 


Coat  of  Arms  from  the  Rosette 

Town  Hall  at  Luneburg.  from  Neubrandenburg. 

(Fritz  Gottlob,  Formenlehre  der  norddeutschen  Backsteingotik.) 


Rosette  from  Stargard. 


GOTHIC  ORNAMENT 


275 


18" 


276  GOTHIC  ORNAMENT. 

Plate  161. 

(After  Heideloff,  Ornamentik  des  Mittelalters.) 

Fig.   1.    Frieze  from  the  passage  between  the  Nicholas  Chapel  and  the  cathedral- 
church  at  Aix-la-chapelle,  1480. 
„     2.    Finial  from  the  fountain  in  the  market  square  at  Rottenburg  on  the  Neckar, 
late  Gothic. 

3.  Crocket  from  St.  Kilian's  church  at  Heilbronn. 

4.  and  8.      Balustrade,    and    inscription    from    the    court -yard    of    the    house 
Adler  Str.  L  308,  Nuremberg. 

5.  Capital  from  Cologne  cathedral. 

6.  Finial  from  a  stone  Tabernacle  in  the  Hospital  church,  Esslingen,  the  work 
of  Matthaus  von  Boblingen. 

7.  Finial  from   the  shrine  of  St.  Sebald  in  Nuremberg,  wrought  in  bronze  by 
Peter  Vischer  and  his  son  (1508—1519). 

9.    Corbel  of  vault  from  the  Lilienfeld  Cloister  near  Vienna. 
10.    Baptismal  font  in  Mtinnerstadt  on  the  Lauer. 


Plate  162. 

Fig.  1,  3,  and  6.  Capitals  from  the  cathedral  church  of  St.  Peter  at  Wimpfen  in  the 
valley  near  Heilbronn  (Zeller,  St.  Peter  zu  Wimpfen  i.  T.). 

„     2.    Capital  from  the  church  of  the  Cistercian  Cloister  Lilienfeld  near  Vienna. 

„     4.    Capital  from  the  cathedral  at  Frankfurt  on  the  Main,  Hth  century  (Raguenet). 

„  5.  Column  from  the  St.  Blasius  cathedral,  Brunswick,  15th  century  (Hartung, 
Mittelalterliche  Baukunst  in  Deutschland). 

„  7.  Capital  and  base  from  the  princes'  tomb  in  the  Holy  Cross  church  near 
Vienna  (Heideloff). 

„     8.    Capital  from  a  window  of  the  Saalburg  on  the  Saale  (Franconia)  (Heideloff). 

„     9.    Capital  from  the  cathedral  at  Worms  (Raguenet). 


Plate  163. 

Fig.   1.    Door  from  Ober-Kranichfeld  (Heideloff). 
„     2.    Late  Gothic  door  from  Coburg  fortress  (Heideloff). 
„     3.    Portal  of  the  Elizabeth  church  in  Marburg  (Hartung). 

„     4.    Bridal   door  on  the  north  side  of  the  choir  in  the  church  of  St.  Sebald,. 
Nuremberg,  14th  centur}\ 


Plate  164. 

(After  Heideloff,  Ornamentik  des  Mittelalters.) 

Fig.   1—4.    Late  Gothic  ornaments  in  flat  wood  relief  in  the  gallery  balustrade  of 

a  house  in  the  Hauptmarkt,  Nuremberg. 
„     5,  and  8.    Wood-carving   from    a   writing-desk   in   the   rectory    of   St.  Lorenz, 

NQremberg. 
„     6,  and  7.    Panelling  from  stone  gallerv  in  the  choir  of  the  Cloister  church  in 

Blaubeuren. 


Plate  162. 


GOTHIC  ORNAMENT. 


277 


278 


GOTHIC  ORNAMENT.  Plate   163. 


Plate  164. 


GOTHIC  ORNAMENT. 


279 


280 


GOTHIC  ORNAMENT. 


Plate  165. 


GOTHIC  ORNAMENT. 


281 


Fig.  9.   From  a  stall  in  the  Cloister  church  of  St.  Clara,  Nuremberg. 
„    10,  and  11.    Wooden  rosettes  from  the  rose  chamber  in  the  Princes  House,  Coburg 

Castle. 
„    12.    Window  head  in  the  St.  Lawrence  rectory,  Nuremberg,  1458. 
„    13.   Window  head  of  a  private  house  in  Nordlingen. 
„    14,  and  15.    Window  heads  from  the  ruined  Hospital  in  Esslingen. 


Plate  165. 

Fig.  I,and3.   Glass  window   from   the  church   at   Hundelshausen  (Ungewitter,    Land- 

und  Stadtkirchen). 
„     2.   Relief  over  the  door  of  the  chapel  tower  in  the   Parish  church,  Rottweil 

(Heideloff). 
„     4.   Stained  glass  from  the  cathedral  at  Regensburg,  now  in  the  National  Museum 

at  Munich  (Dolmetsch). 
„     5.    Glass  painting  from  the  Frauenkirche,  Esslingen  (Dolmetsch). 
„     6.   Pulpit  from  the  church  of  the  Ursuline  Convent  in  Pritzlar  (Ungewitter). 
„     7,  and  8.    From  the   Cathedral   church    of  St.  Peter   in  Wimpfen-im-Tal  (Zeller, 

St.  Peter  zu  Wimpfen-im-Tal). 


Window  from  the 

Stargard  Gate, 
New  Brandenburg. 


Gable  at  the  Market 

side  of  the  Town  Hall 

of  Konigsberg. 


From  the  South  Chapel 

of  the  Katharinen 
church,    Brandenburg. 


(Fritz  Gottlob,  Formenlehre  der  norddeutschen  Backsteingotik.) 


282 


GOTHIC  ORNAMENT. 


Plate  166. 


Plate  167. 


GOTHIC  ORNAME^'T. 


283 


284  GOTHIC  ORNAMENT. 

Plate  166. 

German  Gothic  Brickwork. 
(After  Fritz  Gottlob,  F-ormenlehre  der  norddeutschen  Backsteingotik.) 

The  Romanesque  Brickwork  of  North  Germany,  which  had  its  origin  in  North  Italy, 
became,  naturally,  when  Gothic  Architecture  developed  and  became  prevalent,  gradually 
changed  into  the  Gothic  style.  The  marked  differences  between  the  two  were  due,  to  the 
different  materials  used,  and  to  the  manner  in  which  these  materials,  stone  and  brick,  had 
to  be  treated.  The  Brickwork  was  very  probably  prior  to  the  Stone  Gothic,  and  in  the  level 
plains  of  North  Germany,  where  sandstone  is  scarce,  there  gradually  arose  a  special  style 
of  Gothic  Brickwork  quite  in  keeping  with  the  pecuHarity  of  the  building  material  and  the 
character  of  the  people. 

Fig.  1.  Window  from  the  Nikolai  church  in  Wismar. 

2.  Window  from  the  Town  Hall  of  Lubeck. 

3.  North  doorway  of  the  church  of  St.  Mary,  Konigsberg,  Prussia. 

4.  Buttress  in  the  same  church. 

5.  Rose  window  from  the  church  at  Prenzlau. 

6.  Principal  doorway  in  the  Cloister  church,  Berlin. 


Plate  167. 

(After  Heideloff,  Ornamentik  des  Mittelalters.) 

Fig.  1.  Glazed  heating  stove  in  Burg  Fussen  on  the  Lech.  The  stove  contains  the 
following  inscription  „Dieser  Olen  Wol-gestalt  ward  gemacht  do  man  zallt  1514  jar 
bey  Hannsen  Seltzmann  Vogt  zu  Oberndorf".  —  This  stove  was  made  in  1514  by 
Hannsen  Seltzmann,  Steward  at  Oberndorf. 

2.  Quiver,  after  a  painting  from  Albrecht  Diirer,  showing  Hercules  conquering 
the  Harpies.    At  present  in  the  Burg  at  Nuremberg. 

3.  Late  Gothic  double  goblet  in  silver  gilt,  in  possession  of  the  family  Knopf  in 
Nuremberg. 

4.  Monument  to  Graf  von  Henneberg,  done  in  bronze  by  Peter  Vischer,  from  a 
sketch  by  Albrecht  Diirer. 

5.  Arms  of  Wurttemberg  and  Savoy,  from  a  tomb  in  the  Stiffs  church  in  Stuttgart. 

6.  Late  Gothic  ornament  from  the  bridal-carriage  of  Agnes  of  Hesse,  wife  of 
Duke  John  Frederick  of  Saxe-Coburg  (1555),  in  flat  relief,  carved  in  wood  and  gilt. 

7.  Eagle  from  panelling  of  the  door  of  the  Emperor's  room  in  Scheurlis  House, 
Nuremberg. 


Plate  168. 

(After  F.  Paukert,  Tiroler  Zimmergotik.) 

Fig.    1.  Wood  ceiling  in  Jochlsturm,  Sterzing. 
„     2.    Tiles  from  the  Burg  in  Meran. 
„     3.    Marquetry  from  a  table. 
„     4 — 7.    From  a  wood  ceiling  in  Freienstein. 

8—11.   Tie-beams  of  a  wood  ceiling  in  St.  Martin,  Ahrntal. 


Plate  168. 


GOTHIC  ORNAMENT. 


285 


286 


GOTHIC  ORNAMENT. 


Plate  169. 


Plate  170. 


GOTHIC  ORNAMENT. 


287 


288 


GOTHIC  ORNAMENT. 


Plate  169. 

Gothic  ornamental  Iron-work  from  Nuremberg  Museum. 

Fig.  1,  4,  7,  9,  11,  13,  and  16.   Door  handles. 

„  2,  8,  and  10.    Lock  mountings. 

„  3,  5,  12,  14,  and  15.    Door  mountings. 

„  6.    Wood  door  with  iron  mountings. 


Plate  170. 

Fig.  1.   Late  Gothic  crozier,  from  a  tombstone  in  the  cathedral  at  Regensburg  (Heideloff). 
„     2.   Late  Gothic   candelabrum   of   bronze   from   the   church   of   Kraftshof   near 

Nuremberg  (Heideloff). 
„  ,   3.    Gilt  wooden  cross,  from  an  altar  in  the  church  of  St.  Mary  at  Hersbruck  (Heideloff). 
„     4.    Gothic  cradle  (Heideloff). 

„     5,  and  7.   Manuscript  painting,  15th  century  (Dolmetsch). 
„     6.   Coffer  from  Bozen  (Paukert,  Zimmergotik). 
„     8.   Late  Gothic  balcony  soffit  from  St.  Michael's  church,  Hildesheim  (Ebe,  Die 

Schmuckformen  der  Monumentalbauten). 


Mf'^^M 


Gothic  Wood  Carving. 


Plate  171. 


GOTHIC  ORNAMENT. 


289 


SPELTZ,  Styles  of  Ornament. 


19 


290 


GOTHIC  ORNAMENT. 


Plate  172. 


Plate  173. 


GOTHIC  ORNAMENT. 


291 


19* 


292  GOTHIC  ORNAMENT. 

Plate  171. 

Fig.  1.    Late  Gothic  arm-chair  from  the  ancient  armoury  in  Nflremberg. 
„     2.    Arm-chair  from  Tyrol,  IS'h  century. 
„     3.    Door  from  Kunkelstein  Castle  (Paukert). 
„     4.    Late   Gothic   lectern   from   the   Stifts   church   at  Herrieden,   near  Ansbach 

(Heideloff). 
5.    Stall  from  the  Elizabeth  church,  Marburg  (E.  Wasmuth,  Alte  und  neue  Kirchen- 

mobel). 
„     6.    Table  from  the  Rhineland,   15th  century  (Falke,  Mittelalterliches  Hausmobiliar). 
7.    Church  stall  in  oak.    In  all  probability  this  belonged  to  the  rival  Kaiser  Wilhelm 

of  Holland,   and  is  .therefore  from  the   IS'h  century;  i*  is  now  in  the  Wartburg 


Plate  172. 

Gothic  Flat  Ornament. 
(After  E.  Paukert,  Tyroler  Zimmergotik. 

Fig.   1,  and  3.    Ornament  from  Kunkelstein  Castle. 

2,  4,  and  6.     Stuff  patterns  after  paintings  in  the  castle  of  Trotzburg. 
5.     Ornament  from  Neuslift. 
,,     7,  and  8.     Wall-paper,  printed  on  linen. 


Plate  173. 

Fig.   1.     Wrought-iron  candelabrum,  end  of  the   15'^  century,  in  the  National  Museum 

at  Munich  (Hirth). 
„     2,  7,  and  8.    Crown  and  details  in  a  picture  of  the  Blessed  Virgin  in  the  church 
of  St.  Martha,  Nuremberg  (Heideloff). 

3.  Late  Gothic  goblet  in  silver  gilt  (Heideloff). 

4.  Rosette  of  sheet-iron  on  the  knocker  of  the  sacristy  door  in  the  church 
of  St.  Lawrence,  Nflremberg  (Heideloff). 

„     5.    Badge  of  the  confraternity  of  the  "Holy  Mount",  with  the  symbol  of  St.  Aegidius 

(Heideloff). 
„     6.     Late  Gothic  censer,  from  a  copperplate  by  Martin  Schongauer  (Heideloff). 
„     9.     Chain  of  the  order  of  the  Swan  (Heideloff). 
„    19.    Spout  of  a  water  barrel  (Heideloff). 


Plate  174. 


Fig.   1 — 8.    Late  Gothic  initals,  from  different  parchment  manuscripts  (Hirth,  Formenschatz). 
„     9—13.    Early  Gothic  letters,  from  Rhenish  manuscripts  (Dr.  Karl  Lamprecht,  Initial- 
Ornamentik). 


Plate  174. 


GOTHIC  ORNAMENT. 


293 


294 


GOTHIC  ORNAMENT. 


Plate  175. 


tfl-UfMBfUtta  tarw-paffinf  • 


i  mitmmmmtoddR'RW. 


*^ 


3. 


GOTHIC  ORNAMENT. 


295 


Plate  175. 

(After  Wilhelm  Weimar,  Monumental-Schriften.) 

Fig.  1.     From  a  bronze  plate  In  the  Monastic  church  at  Baden-Baden,  1497. 
„     2.     From  the  bronze  tomb  of  Bishop  Tilo  of  Trotha  in  the  cathedral  at  Merse- 

burg,  died  1514. 
„     3.    Inscription,  engraved  in  bronze,  from  the  tombstone  of  Anna  von  Wiers- 

hausen  (died  1484)  in  the  church  of  St.  Elizabeth,  Marburg. 
„     4.    From   the   engraved   bronze  tomb-plate   of  the  Scholt  in  Nflremberg,  who 

died  in  1469.     In  the  church  at  Langenzenn  near  Furth. 
„     5.    Bronze  tomb-plate  of  Jakob  von  Qulpen  (died  1455)  in  the  St.  Gumbertus 

church,  Ansbach. 


Window  in  Bebenhausen  Convent, 
Wiirtemberg. 

Window  from  the  Town  Hall 
at  Nuremberg. 


f 


Window  in  the  Reichenbach 
Cloister,  Ulm,  Wiirtemberg. 

Window  from  the  gable  of  the 

now  ruined  Preacher's  church 

in  Nuremberg. 


(Heideloff,  Ornamentik  des  Mittelalters.) 


296 


GOTHIC  ORNAMENT. 


Plate  176. 


#■>' ._„ 


GOTHIC  ORNAMENT. 


297 


Plate  176. 

Gothic  Ornament  in  Hungary. 
(After  Dr.  B^la  von  Czobor  and  Emmerich  von  Szaley,  Die  historischen  DenkmMler  Ungams.) 

Fig.   1.    Helmet  of  Banus  from  Croatia  and  Helden,  by  Szigetvar  Nikolaus  Zrinyi 

(died  1566),  in  the  Court  Armoury  Collection,  Vienna. 
„     2.    Helmet  of  Georg  Castriota  Skanderbeg,  Duke   of  Albania  (1403—1467),  in 

the  Court  Armoury  Collection,  Vienna. 
„     3.    Goblet   of  silver  gilt,    15'h  century,   was  presented  in   1640  to  the  Protestant 

church  in  Miskolcz  by  Gregor  von  Miskolcz. 
„     4.     Horn  vessel  for  holding  oil,  silver  gilt  mountings,   property  of  the   Eszertom 

cathedral. 
„     5.    Reliquary  Hermes  of  St.  Ladislaus,  of  silver  gilt,  ornamented  with  chain  mail. 

Hungarian  15th  century  work.    In  the  cathedral  church  at  Gyorer. 


■f»=^ 


Bronze  Baptismal  Font,  made  in  1484  for  Menardt  church 
by  Johannes  von  Novavilla. 


298  GOTHIC  ORNAMENT. 


Gothic  Ornament  in  Italy. 


into  Italy  Gothic  art  made  its  way  at  about  the  same  time  as  it  did  into 

Germany.    This  style  of  an  first  received  the  title  of  Gothic  in  Italy,  a 

word  which  was  used  by  the  Italians  at  that  time  to  signify  barbarian,  or 

anything  coming  from  the  north.    In  Italy  more  importance  was  placed 

on  the  horizontal  than  in  either  Germany  or  France,  and  it  was  only  very 

seldom  that  the  vertical  predominated  in  that  country.    The  Italians  did 

From  a  "°^  P^^  much  attention  to  the  development  of  the  tower,   which  very 

14th  century      °^*^"  stands  quite  apart  from  the  church  altogether.    The  Franciscan  and 

Manuscript        Dominican  Orders  played  a   very  important  part  in  the  spread   of  the 

(Racinet)  Gothic  throughout  Italy.    The  Italian  Gothic,  however,  could  never  free 

itself  from  Classic,  Romanesque  and  Byzantine  reminiscences,  and  Italian 

Late-Gothic  is  mixed  with  noumerous  Renaissance  motifs.    Classic  art  had  taken  too  strong 

a  hold  on  the  Italians,  it  was  so  much  a  part  of  their  life,  they  had  become  so  imbued 

with  its  spirit  that  they  really  found  it  impossible  to  become  true  lovers  of  the  Gothic.    As 

a  consequence,  Gothic  art  rapidly  declined,  and,  in  the  13th  century,  a  decided  movement 

to  break  away  altogether  from  the  style  of  the  period,  and  to  turn  back  again  to  the  old 

Classic  Art  began  to  make  itself  evident. 


Plate  177. 

(From  Rohault  de  Fleury,  La  Toscane  au  Moyen  Age.) 

Fig.  1,  and  5.    Arch  of  the  Loggia  of  the  Palace  of  the  Signoria,  Florence. 
„     2.    Painting  by  Piero  di  Guido  (1386)  representing  Charity,  in  the  Loggia  of 

the  Palace  of  the  Signoria,  Florence. 
„     3.     Lion  from  the  city  wall  in  Pisa. 
„     4.    Pillar  from  the  corn-market  in  Florence. 
,,     6.    Mural  painting  from  the  city  hall,  Florence. 


Plate  178. 

Fig.   1.    Window  from  a  house  in  the  Synagogue  Street  in  Irani,  13th  century  (Raguenel). 
,,     2.    Crest  of  the  church  of  Santa  Maria  del  Fiore  in  Florence,  14'h  century  (Raguenet). 
„     3.    Bronze  knocker  from  Florence,  14'h  century  (Raguenet). 
„     4.    Window  from  the  Convent  of  St.  Theresa  in  Trani  (Raguenet). 
„     5.    Mosaic  floor  from  Florence  cathedral   (D'Espouy,  Fragments  d'architecture  du 

Moyen-age). 
„     6,  and  7.    Mural  painting  and  pillar  from  the  Castle  of  Pandino,  14th  century 

(Camillo  Boito,  Arte  Italiana). 


Plate  177. 


GOTHIC  ORNAMENT. 


299 


300 


GOTHIC  ORNAMENT. 


Plate  178. 


DM<ZZ>I<!D 


(5 


Plate  179. 


GOTHIC  ORNAMENT. 


301 


302  GOTHIC  ORNAMENT. 

Plate  179. 

Fig.   1,  and  2.    Altar  in  the  church  of  Or  San  Mlchele  (D'Espouy), 
,t     3.    Band-pattern,  15'h  century  (Raguenet). 
„     4.    Door  border  from  Florence,  15th  century  (Raguenet).    . 


Plate  180. 

Fig.  1—4.    Locks  and  keys  from  the  National  Museum,  Florence  (Boito;. 
„     5.    Credence  from  the  Villa  Reale  del  Poggio  near  Florence,  IS'h  century  (Raguenet). 
„     6.    Fragment  of  a  fresco-painting  by  Jacopo  Avanzi  in  the  Oratorium  of  the 

St.  Giorgio  church  in  Padua  (Boito). 
„     7.    From  a  monument  by  Bonjacopo  Sanoita  In  the  choir  of  the  St.  Antonio 

Convent,  Padua  (Boito). 


Plate  181. 

Fig.  1.  Tunic  from  the  Museo  Civico  in  Turin,  made  of  carmine-red  velvet  on  a  gold 
ground,  IS'h  century  (Boito). 

„  2.  Carpet  pattern  from  a  tempera  painting  by  Niccolo  Alunno  (1466)  in  the 
Pinakotheca  at  Perugia  (Dolmetsch). 

„     3.    From  a  tomb  in  Fano  (D'Espouy). 

„     4.    Mural  painting  from  the  Castle  of  Pandino,  end  of  the  14*^  century  (Boito). 

„     5.    Table-cloth  border,  15th  century,  the  pattern  is  blue  (Raguenet). 

„      6.     Railing  round  the  Scaligcr  monument  in  Verona  (D'Espouy). 

„  7.  Reliquary  in  the  treasury  of  the  Pitti  palace,  Florence,  end  of  the  14*^  cent- 
ury (Boito). 


Plate  182. 

The  Venetian  Gothic. 
(After  Cicognara,  Monumenti  di  Venezia.) 

Fig.    1.  Capital  and  base  from  the  court-yard  of  the  Ck  d'oro  palace. 

2.  Balustrade  in  the  first  story  of  the  same  palace. 

3.  Window  Ornament,  capital  and  base,  in  the  first  story  of  the  same  palace. 

4.  Capital  and  base  from  the  second  story  of  the  same  palace. 

5.  Capital  and  base  in  the  first  story  of  the  Doges  palace. 

6.  Ground  plan  of  No.  5. 


Plate  180. 


GOTHIC  ORNAMENT. 


303 


304 


GOTHIC  ORNAMENT. 


Plate   181. 


Plate  182. 


GOTHIC  ORNAMENT. 


305 


SPELTZ,  Styles  of  Ornament. 


20 


306 


GOTHIC  ORNAMENT. 


Plate  183. 


GOTHIC  ORNAMENT. 


307 


Plate  183. 

Fig.  1 — 8.    Manuscript  paintings  from  the  14"i  and  ISt^  centuries  (Racinet,  L'Ornement 
polychrome;. 


Stuff  pattern  from  an  altar  in  Milan,  with  the  badge  of  the  Duchess 
Bonne  of  Savoy.    At  present  in  the  Museum  Poldi  Pezzole,  Milan 

(L'art  pour  lous). 


20* 


308 


GOTHIC  ORNAMENT. 


Plate   184 


1 


Plate  185. 


GOTHIC  ORNAMENT. 


309 


310 


GOTHIC  ORNAMENT. 


Gothic  Ornament  in  Spain. 


.^ry  soon  after  it  had  begun  to  reach  its  highest  development 
in  France,  that  is,  in  the  first  half  of  the  13th  century, 
and  about  the  year  1225,  Gothic  was  introduced  from 
France  into  Spain.  It  did  not,  however,  undergo  here  that 
change  in  accordance  with  the  national  ideas  of  the 
people  which  it  underwent  in  Germany  and  Italy,  the 
very  extensive  number  of  Moorish  remains  still  existing 
in  the  country  having  made  their  influence  felt.  One 
of  the  oldest  Gothic  monuments  in  the  Peninsula  is 
the  cathedral  of  Burgos  which  was  built  under  Northern 
French  influence  in  the  13'h  century.  The  Western 
From  a  15*^  century  Manuscript  tower  of  this  cathedral  was  completed  in  the  years 
(Monumentos  de  Espana).  1442—1456  by  Meister  Johann  of  Cologne. 


Fig. 


Plate  184. 

Transition  Style  (estilo  mudelar). 
(After  Monumentos  arquitectonicos  de  Espana.) 

1,  and  3.   Door  and  window  heads  from  the  Palace  de  los  Ayalas  in  Toledo. 

2.  Door  head  from  the  chapel  of  Santiago  of  Santa  Maria  in  Alcala  de  Henares, 

4.  Details  from  the  house  called  de  Mesa  in  Toledo. 

5.  Decoration  over  the  door  in  No.  2. 

6.  Crest  of  the  church  of  St.  Mark,  Seville. 


Plate  185. 

(After  Monumentos  arquitectonicos  de  Espana.) 

Fig.  1,  and  2.    Window  from  the  house  Lonja  in  Valencia. 
„     3.    Window  from  the  cloister  of  St.  Juan  de  los  Reyes  in  Toledo. 
„     4.   Middle  column  of  a  double  window  from  the  tower  of  the  Lonja  house  in 

Valencia. 
„     5.    Stair  newel  from  the  Hospital  de  la  Latina  in  Madrid. 
„     6.   Tombstone  of  King  Don  Alpkonso  VIII  and  his  Consort  Donna  Leonor,  in 

the  choir  of  the  church  of  Santa  Maria  La  Real  de  Huelgas  in  Burgos. 


Plate  186. 


GOTHIC  ORNAMENT. 


311 


312 


GOTHIC  ORNAMENT. 


Plate  186. 

Fig.    1—3.   Details  from  the  cloister  of  St.  Juan  de  los  Reyes  in  Toledo  (Monumentos 

de  Espana). 
„     4.    Balcony  from  the  court-yard  of  St.  Gregorio  in  Valladolid  (Raguenet). 


Plate  187. 

Fig.  1.   Finial   from   transept   of   the   church   of   St.  Juan   de  los  Reyes  in   Toledo 
(Monumentos  de  Espana). 
„     2.   Linen  hanging,  16'^  century,  blue  pattern  on  a  red  ground  (Raguenet). 
„     3.    Wrought  iron   chandelier   from   Tarrasa,   province  of  Barcelona,   13th  century 
(Mira  Leroy). 
4.    Window  panel  from  the  cloister  of  St.  Juan  de  los  Reyes  in  Toledo  (Monu- 
mentos de  Espana'). 
„     5.   Back  of  a  stall  seat  in  the  cathedral  of  Leon,  15th  century  (Mira  Leroy). 
„     6.   Ceiling  of  the  cloister  of  St.  Juan  de  los  Reyes  in  Toledo  (Mira  Leroy). 


Painted  balustrade  in  the  interior  of  the  tower  of  Santo  Domingo, 
called  the  Hercules  Tower  in  Segovia 

(Monumentos  de  Espafia). 


Plate  187. 


GOTHIC  ORNAMENT. 


313 


MiiuqMaw»^lim!!ili;lii!lilii.llii|^(]llliillf 


314 


GOTHIC  ORXAMEXT. 


Plate  188. 


GOTHIC  ORNAMENT. 


315 


Plate  188. 

The  Manoel  Style  in  Portugal. 
(After  Frei  Luis  de  Souza,  Church  of  Batalha.) 

An  extremely  peculiar  Gothic,  influenced  by  Moorish,  and  other  foreign  fonns,  deve- 
loped in  Portugal,  its  most  beautiful  example  being  the  church  at  Batalha  uith  its  monument 
erected  to  the  memory  of  king  Manoel.  On  the  14*^  august  13S5  Dom  Jolo,  King  of 
Portugal  at  the  time,  found  himself  opposed  to  a  very  powerful  Spanish  army,  far  superior 
to  his  o\Mi  in  numbers,  under  the  command  of  Don  Juan,  King  of  Spain.  Dom  Joao  turned 
to  the  Virgin  for  help  in  this  critical  situation,  and  promised,  if  She  would  give  him  the 
victor}',  that  he  would  erect  a  building  in  her  honour  which  would  far  outshine  in  size  and 
beaut>-  any  similar  structure  throughout  Christendom.  As  the  Portuguese  did  actually  beat 
the  Spanish,  and  gained  an  overwhelming  victory  over  them,  Dom  Joao  immediately  proceeded 
to  carry  out  his  promise.  He  called  together  the  foremost  architects  and  artists  from  all 
parts  of  Europe,  and  in  the  ver}'  same  year,  1385,  in  which  he  won  his  great  victory,  close 
to  the  scene  of  battle,  laid  the  foundations  of  the  famous  and  beautiful  church  at  Batalha. 
The  mausoleum  erected  to  king  Manoel,  who  reigned  later,  is  the  most  beautiful  item  in 
this  structure.    It  was,  however,  never  finished  and  is  still  incomplete. 

Fig.  1.  Arch  over  the  door  of  the  mausoleum  to  King  Dom  ManoeL 

„     2.  Arch  of  one  of  the  chapels  in  the  same. 

3.  Principal  cornice  of  the  same. 

„     4.  Spire  of  the  tower  in  the  north  fafade  of  the  church  at  Batalha. 

„     5.  Entrance  door  to  the  mausoleum. 


Shaft  and  band  on  the  South  front  of  the  church  of  Santa  Maria  in  Bel^m 

(Haupt,  Baukunst  der  Renaissance  in  Portugal). 


CHINESE  ORNAMENT, 


Chinese 
Ornamental  Frame 

(Racinet.) 


Although  the  earliest  record  of  Chinese  archi- 
tecture dates  back  to  the  23  century  B.  C,  when 
the  Baku  tribes  emigrated  east  from  Elam  and  Baby- 
lonia, and  introduced  their  systems  of  building,  there 
are  no  examples  of  their  architectural  ornament 
existing  earlier  than  the  IS^'^  century  A.  D.,  owing 
to  the  ruthless  destruction  which  has  taken  place  at 
all  periods  of  her  history.  In  their  temples  and  halls 
they  would  appear  to  have  adhered  to  one  universal 
type  of  design,  the  earliest  example  still  existing  of 
which,  is  that  which  was  first  built  in  Japan  in  607 
A.  D.  by  Koreans.  It  was  then  a  completely  deve- 
loped style,  consisting  of  wood  columns,  carrying 
open  timber  roofs  covered  with  tiles,  and  the  principal  ornaments  were  those 
found  in  the  groups  of  brackets  which  carried  the  overhanging  eaves  and  the 
ridge  and  hip  rolls  of  their  roofs:  all  in  glazed  terracotta  of  bright  colouring. 
Owing  to  the  peculiar  nature  of  the  construction  of  their  roofs  (of  which  an 
example  is  shewn  in  Plate  159,  Fig.  2),  the  horizontal  beams,  instead  of  being 
carried  on  the  tops  of  the  columns  are  tenoned  into  them.  There  are  therefore 
no  capitals  so  that  the  Chinese  and  Japanese  are  the  only  nations  in  the  world 
to  whom  the  capital — the  principal  ornamental  feature  of  all  styles— is  unknown. 
At  an  early  period  also  the  Chinese  discarded  in  their  pagodas  the  timber  con- 
struction which  they  introduced  into  Japan  and  built  them  in  brick,  covering  them 
sometimes  with  porcelain  and  glazed  terracotta  plaques  of  the  greatest  beauty, 
and  it  is  in  this  branch  of  art  and  in  their  ceramics  that  they  excel,  and  in 
the  plates  devoted  to  Chinese  ornament  are  represented  some  of  the  finest  works 
of  this  kind.  In  bronzes  also  they  are  very  great  masters,  as  also  in  gold 
and  silver  embroideries. 


Plate  189. 


CHINESE  ORNAMENT. 


317 


318  CHINESE  ORNAMENT. 

Plate  189. 

Fig.  1.    Pillar  crest  of  the  Pagoda  of  Ho-nan.    The  Chinese  column  has  no  capital,  the 
beams  and  brackets  being  tenoned  in  at  the  sides  (Chambers,  Designs  of  Chinese 
Buildings). 
„     2.   From   the    colonnade   In   the   court -yard   of   the   Pagoda  of   Cochin- China 
(Chambers). 

3.  Corbel  of  a  Pagoda  in  the  eastern  suburb  of  Canton  (Chambers). 

4,  5,  9,  and  10.   Chinese  17th  century  furniture  (Chambers). 
6,  and  7.    Bases  of  the  colums  in  No.  2. 
8.    Roof  crest  of  a  small  temple   in  the  western  suburb  of  Canton  (Chambers). 

11.  Spire  of  a  Pagoda  on  the  Ta-Ho,  between  Canton  and  Hoang-Pou  (Chambers). 

12.  Upper  part  of  a  Pagoda  in  Cochin-China  (Chambers). 

13.  Part  of  a  curtain  of  a  canopy  bed,  embroidered  in  gold  and  silk,  15th  century 
(Dolmetsch). 


Chinese  Ceramics. 


In  his  history  of  Chinese  Ceramics,  Ernest  Grandidier  divides  the  products  of  Chinese 
Ceramics,  chronologically,  into  five  epochs: 

1.  Under  the  dynasty  of  Sung  (960—1260)  and  the  dynasty  of  Yonen  (120—1368). 

2.  Under  the  dynasty  of  Ming  (1368—1620). 

3.  From  the  end  of  the  latter  dynasty  to  the  death  of  K'ang  Hsi  (1620—1722). 

4.  Under  the  reign  of  Yung-Cheng  and  Kien-Long  (1722—1796). 

5.  The  modern  epoch. 


Plate  190. 

Fig.  1.    Censer,  used  by  the  Emporer  Fon-Hi  when  making  offering  to  the  spirits  of  Heaven 

and  Earth,  dates  from  beginning  of  the  18th  century. 
„     2.    Vase  with  the  mythological  dragon,  from  the  Yung-Tsching  epoch  (1723— 1736). 
„     3.   Vase  with  the  goddes  Si-wang-mow,  Goddess  of  a  long  life,  from  the  same 

period. 
„     4,  and  5.   Tea-pots,  from  the  Ming  epoch,  1368—1620. 
„     6.   Vase,  from  the  K'ang  Hsi  epoch,  1662—1723. 
„     7.   Statue  of  Konan-inn,  goddess  of  Charity. 
„     8.   Antique  vase  in  the  Museum  Adrien  Dubouchet,  Limoges. 


Plate  191. 


Fig.  I,and2.   Vases  from  the  Yung-Cheng  epoch. 
,,     3.    Vase  from  the  K'ang  Hsi  epoch. 
„     4.    Wine-can  from  the  K'ang  Hsi  epoch. 
„     6.   Vase  from  the  Sung  epoch  960-1260. 


Plate  190. 


CHINESE  ORNAMENT. 


319 


320 


CHINESE  ORNAMENT. 


Plate   191. 


Plate  192. 


CHINESE  ORNAMENT. 


321 


SPELTZ,  Styles  of  Ornament. 


31 


322 


CHINESE  ORNAMENT. 


Plate  193. 


CHINESE  ORNAMENT. 


323 


Plate  192. 

Fig.   1.     Escutcheon  from  the  K'ang  Hsi  epoch. 

„     2.     Cup  from  the  same  epoch. 

„     3.    Vase  from  the  Sung  epoch. 

„     4.     Plate  from  the  Kien-Long  epoch. 

„     5.    Vase  from  the  same  epoch. 

„     6.     Fragment  of  table  plate  from  the  K'ang  Hsi  epoch. 

„  7.  Vase  from  the  Yung-Ching  epoch,  with  raised  gold  meander,  which,  it  is  more 
probable  to  suppose,  was  discovered  by  the  Chinese  themselves,  rather  than  an 
imitation  from  the  Greek.  The  other  patterns  on  the  vase  relate  to  Buddhist 
Mythology. 


Plate  193. 

(After  L'art  pour  tous.) 

Fig.   1—3,  and  8.     Ornamental   butterfly  from    an    antique  porcelain    plate,    in   the 

Gasnault  collection. 
„     4.    Antique  gold  censer,  in  the  possession  of  Admiral  Coupvent  des  Bois. 
„     5.    Antique  tea-pot,  from  the  Gasnault  collection,  now  in  the  Museum  at  Limoges. 
„     6.    Antique  bronze  vase  from  M.  Desaye's  collection. 
„     7,  and  9.    Bronze   vases   from   the   period   of  the   Ming   dynasty,   in  the   Bing 

collection. 
„   10.    Antique  bronze  candle-stick. 


Ornament  for  laquer  painting  (Racinet). 


21  • 


324  CAMBODIAN  ORNAMENT. 


Cambodian  Ornament. 

In  the  countries  lying  between  India  and  Cliina  an  extremely  peculiar  and  very  ancient 
art  developed  into  existence,  which  may  be  regarded  as  a  transition  from  Indian  to  Chinese 
art.  It  is  but  very  little  studied  and  was  first  made  known  in  Europe  on  the  formation  of 
the  Musee  des  antiquites  cambodgiennes  by  M.  Louis  Delaporte,  Lieutenant  in  the  French 
Navy -Similar  to  Indian  architecture,  the  Cambodian  is  overloaded  with  ornament,  but  this 
overloading  is,  however,  made  up  for  in  the  regularity  and  harmony  which  characterises  it. 


Plate  194. 

(After  L'art  pour  tous.) 
Fig.   1.    From  the  sanctuary  of  the  Temple  of  Angkor  Vat,  10th  century. 
„     2.    Upper  portion   of  podium   in  the  same  sanctuary  with  mask  of  the  God 

Rheon. 
„     3.    Bas-relief  carved  on  the  exterior  of  the  same  sanctuary. 
..     4.    Mural  decoration  in  the      ame  with  the  Brahma  Gods. 


Plate  195. 

(After  L'art  pour  tous.) 

Fig.   1.    Doorway  of  the  temple  of  Loley,  11th  or  12th  century. 
„     2.    Square  pier  and  entablature  with  sculptured  frieze  representing  the  Apsaras 

(celestial  dancing  girls)  from  the  Temple  of  Angkor  Vat. 
„     3.    Balustrade  window  of  the  Temple  of  Angkor  Vat. 


Plate  194. 


CAMBODIAN  ORNAMENT. 


325 


.^tY\-x-Y V v-it v\- rxx^nrry vv w v a x O' ■k v: : 


^-^^v-*^.. 


i^ 


ira^^T^  ga^ 


1^=^ 


>s'-\'.VAVV/vyv7vrv^"'^' ■:''"  ■yvi: '  v;h  vJcr?: 


^)CUC^}C^riXU\c^,(t3;Xq>(Q.(t,,^ 


^''4-' 'it^<,'.^.>4^4K»'^'  ii 


326 


CAMBODIAN  ORNAMENT. 


Plate  195. 


'■y^;>jt>'-;)B>.<p^-wvg>u«-:^;^?s^?^j^y:<-g~'^>*'*^ 


l-x/^^y...  1  ii\,   A  ,/VA//\//A/;Y/:V-;nr/V/ V(\t/ 


JAPANESE  ORNAMENT. 


espite  the  fact  that  Japanese  art  had  its  origin  in 
China,  it  nevertheless  represents  a  decided 
individuality  peculiar  to  itself.  This  is  due  to 
I  the  less  strict  manner  in  which  they  divided 
their  work.  The  Japanese  Ornamentation  is  not 
so  conventional  as  the  Chinese,  as  they  took 
their  models  more  from  nature  than  the  latter. 
It  is  perhaps  remarkable  and  worthy  of  note 
that  the  Japanese  have  adhered  to  the  original 
models  introduced  from  China  through  Korea, 
whereas  the  Chinese  in  some  cases  have  entirely 
departed  from  them.  Thus  the  Japanese  Pagoda 
represents  the  same  type  of  design  as  that  which 
was  first  built  by  Korean  carpenters  at  Horiuji 
in  607  A.  D.  and  is  still  carried  out  at  the 
present  day,  whereas  the  Chinese  gave  up  the 
timber  structure  a  few  centuries  later,  and  in- 
troduced one  built  in  brick,  which  in  their  country, 
at  all  events,  was  not  liable  to  be  overthrown  by 
earthquakes,  as  it  might  have  been  in  Japan. 
In  both  China  and  Japan  the  general  tendency 
has  been  to  over-elaborate  the  decoration,  and 
in  their  temples  the  ornament  applied  to  their 
columns  and  beams  is  very  much  the  same  in 
both  countries.  In  their  halls  of  state  and  domestic  buildings  the  contrary  is  the 
case,  those  in  China  are  overloaded  with  ornament,  the  great  halls  being  painted 
and  gilded    in   profusion  and   the   residences   of  the   Mandarins    enriched  with 


The  actor  Tomedjuro 

Nakatnura  in  the  role  of  the 

Kaishi.    Painted  by  Tori-i-Kiyo- 

nobu  1750  (Bing). 


328 


JAPANESE  ORNAMENT. 


Plate  196. 


JAPANESE  ORNAMENT.  329 

marbles  of  various  kinds  and  elaborate  carved  woodwork  whereas  in  Japan  the 
greatest  simplicity  is  observed,  in  the  palaces  of  the  Mikado  and  Shogun  the 
woodwork  is  simply  polished,  shewing  the  grain  of  the  wood,  with  mounts  in 
gilt  bronze. 

The  oldest  Japanese  Art  report  dates  from  the  6*"^  century  A.  D.,  when  the 
Buddhist  religion  was  introduced  into  the  country  from  China  through  Korea: 
shortly  afterwards  the  Fujiwara  family  engrossed  the  power  of  the  state  for 
nearly  four  centuries,  when  they  were  displaced  by  the  Taira  and  Minamoto 
clans.  The  former  were  overthrown  at  Danno-ura  in  1 1 85  A.  D.,  when  Yoritomo 
te  chief  of  the  Minamotos  obtained  from  the  Mikado  and  his  court  the  title  of 
Shogun  (generalissimo).  Later  on,  the  Ashigawa  family  ruled  as  Shoguns  from 
1338  to  1590  A.  D.,  and  they  were  succeeded  by  the  Tokugawa  family  whose 
head  lyeyasu  was  a  scion  of  the  Minamoto  family.  They  held  power  till  1 868,  when 
the  Shogunate  was  abolished  and  the  Mikado  again  recovered  his  power  and 
position  as  ruling  sovereign.  In  1542  the  Portuguese  missionaries  entered  Japan 
and  endeavoured  to  convert  the  people,  but  they  had  brought  discord  into  the 
country,  so  that  in  1624  lyemitsu,  the  third  Shogun  of  the  Tokugawa  Dynasty 
expelled  the  missionaries  and  closed  the  country  to  all  foreigners,  the  Dutch 
only  being  allowed  to  carry  on  trade  which  was  confined  to  the  Island  of 
Deshima.  During  the  two  and  a  half  centuries  of  exclusion,  the  Japanese  made 
rapid  advances  in  Art  and  their  lacquer  and  metal-work  reached  a  perfection 
unknown  in  any  other  country,  whilst  their  painting  and  printing,  greatly  in- 
fluenced by  the  Chinese  school,  are  now  recognised  as  the  finest  works  of 
their  kind. 


Plate  196. 

Fig.  1.     Lock  mounting  (L'art  pour  tous). 

„  2.    Scabbard  mounling  (L'art  pour  tous). 

„  3.    From  the  eastern  door  of  the  temple  Shin-Shlu  Sect  in  Kioto  (Uhde,  Kon- 

struktionen  und  Kunstformen  der  Architektur). 

„  4,  and  6.    Ancient  Japanese  vases  (L'art  pour  tous). 

„  5,  and  7.    Sword  scabbard  and  hilt  (L'art  pour  tous). 

„  8.    Altar  Shrine  in  the  temple  of  Miyo-Jin-Akagi  (Uhde). 


330 


JAPANESE  ORNAMENT. 


Plate  197. 


Plate  198. 


JAPANESE  ORNAMENT. 


331 


332 


JAPANESE  ORNAMENT. 


Plate  199. 


JAPANESE  ORNAMENT.  333 

Plate  197. 

(After  Justus  Brinkmann,  Kunst  und  Handwerk  in  Japan.) 

Fig.   1.    Wooden   ceiling  in  the  temple   of  Sliogun  Tokugawa   lyemitsu   at  Uyeno 

near  Tokio. 
„     2.    Posts  at  the  entrance  of  the  principal  door  of  the  temple  NishiHongwanji 

in  Kioto.    The  bases  of  the  post  and  the  cross  bars  are  encased  in  bronze. 
„     3.    Roofed  public  lantern  in  the  province  Ise. 

„     4.    Open  timber  roof  of  the  Hondo  from  O-baku-san  in  Uji  valley. 
„     5.     Painted   drapery  on  a  wooden  column  of  a  Nikko  temple.     Above,  is  the 

three-leaved  Holly-hock  of  the  Tokugawa-Shoguns. 
„     6.    Bronze  nail-head  from  the  castle  of  fiimeiji.    Shows  a  branch  of  the  Holly 

hock  (Asdrum  caulescens). 
„     7 — 11.    Nail-heads  from  an  old  temple  and  old  castles. 
„    12.    Rolled-up  window-blind,  front  and  back  views. 


Plate  198. 

Fig.   1.    Iron  sword  guard  (Tsuba)  from  the  chaser  Kinai,  18th  century  (Bing,  Japanischer 

Formenschatz). 
„     2.    Painting  on  an  ancient  beaker-shaped  vase  (Dolmetsch). 
„     3.    From  an  embroided  silk  robe,  16th  century  (Bing). 
„     4.    Cloisonne  inlay  from  a  copper  dish  decorated  on  both  sides  (Racinet,  Tornement 

polychrome). 
„     5—12.    Japanese  lacquer  painting. 


Plate  199. 

Fig.  1.  Domestic  cock,  from  the  book  Ye-hon  sha-ho-fu-Kuro,  beginning  of  18th  century. 
The  text  gives  the  names  of  the  different  colours  (Brinkmann). 

„  2.  Ridge-tile,  Oni-gawara  from  the  temple  of  Horiuji,  7th  century  (Baltzer,  Das  japa- 
nische  Haus). 

„     3.    Ornamental  phoenix  head  as  ending  of  a  projecting  timber  (Baltzer). 

„  4.  Leaf  of  screen,  from  the  designs  of  the  artist  Korin  1700  which  were  published 
by  Hc-itsu  (Brinkmann). 

„  5.  Helmet  of  Minamoto  Yoshi-iye,  called  also  Hochinamen-Toro,  conqueror  of  the 
Tairi,  about  the  year  1180  A.  D.,  at  present  in  the  temple  treasury  of  Itsukushima. 
The  rounded,  turned-down  sides  of  this  helmet  are  of  leather,  on  which  is  stencilled 
a  picture  of  the  God  Indra  who  is  surrounded  with  flames.  Taken  from  the  Itsuku- 
shima meisho  published  in  the  year  1842  (Brinkmann). 

„  6.  Young  girl  painting,  from  a  wood-cut  in  the  Ehon  Tama  Kadzura  by  Nishigawa 
Sukenobu,  1736. 


334 


JAPANESE  ORNAMENT. 


Plate  200. 


JAPANESE  ORNAMENT. 


335 


Fig.  7.     Border-tiJe  ornamentation  (Baltzer,  Das  japanische  Haus). 
„     8.    Border-tile  ornamentation,  with  chrysanthemum  and  water  waves,  the  arms  of 

the  renowned  hero  Kusunoki  (Baltzer). 
„     9.    Bronze  vessel,  chased,  tor  storing  the  utensils  used  for  smoking  (Brinkmann). 


Plate  200. 

Japanese  Textile  Designs. 
(After  L'art  pour  tous.) 


Fig.   1,  and  4.    Carpet  patterns. 
„     2,  3,  5,  and  7.    Stuff  patterns,  17'^  century. 
„     6.    Pattern  from  the  mantle  of  a  Bonze,  or  priest. 


Sword  and  scabbard  of  a  Dafmio,  from  the  Arima  Family, 

18th  century  (Bing). 


336 


JAPANESE  ORNAMENT. 


Pier  decoration  from  the  temple  of  Angkor  Vat 

(L'art  pour  tous). 


SPELTZ,  Styles  of  Ornament. 


22 


Belgian  Tea  Urn  in  beaten  Copper,  Ghent 

(Ewerbeck  und  Neumeister,  Die  Renaissance  in  Belgien  und  Holland). 


RENAISSANCE  ORNAMENT. 


From  an  Italian  Manuscript 

(Dolmetsch). 


The  Renaissance  in  Italy  in  tlie  1 5"'  cen- 
tury may  be  regarded  to  a  certain  extent  as 
a  revolution  in  art,  a  peaceful  revolution,  of 
which  the  seeds  had  already  been  germinating 
for  many  years  in  Painting  and  Sculpture, 
shov^ing  the  tendency  to  revert  to  that  earlier 
classic  art,  many  of  the  masterpieces  of  which 
still  existed  and  in  greater  profusion  than  at 
the  present  day.  Whilst  in  other  countries 
the  Gothic  style  had  always  represented  in  its 
gradual  development  the  true  feelings  of  the  people  who  produced  it,  in  Italy 
its  principles  had  never  been  understood  or  appreciated,  and  although  in  the 
14*'^  century  in  Florence,  Venice,  Verona,  Pisa  and  in  the  towns  further  south 
magnificent  examples  of  Gothic  ornament  were  evolved,  which  hold  their  own  in 
comparison  with  those  in  other  countries,  their  beauty  consisted  chiefly  in  their 
exquisite  detail  as  apart  from  the  general  desigin  of  the  structures  which  they 
adorned  and  enriched. 

On  the  revival  of  letters  in  the  15**"  century,  the  Italians  began  to  recognise 
that  they  were  the  national  descendants  of  those  who  had  produced  the  master 
pieces  in  ancient  Italy,  the  art  practised  by  them  was  not  a  foreign  importation 
like  that  of  the  Gothic  style,  but  their  own,  an  art  which  had  been  developed 
in  their  own  country,  which  recalled  the  history  of  their  own  people,  who  were 
at  one  time  the  conquerors  of  the  whole  world.  Beyond  this  there  were  other 
changes,  among  which  the  advance  of  civilisation,  the  Reformation  in  Religion, 
the  printing  press  etc.,  all  of  which  contributed  to  new  requirements,  whilst  the 
patronage  of  men  of  letters,  such  as  those  of  the  Medici  in  Florence  and  latei 
on  that  of  the  Papal   court  in  Rome,   all  tending  therefore  and  leading  to  the 

22* 


340  RENAISSANCE  ORNAMENT. 

evolution  of  a  new  interpretation  of  Classic  art.  All  these  considerations,  ho- 
wever, belong  more  to  the  History  of  the  Renaissance  style  rather  than  to  the 
actual  results,  the  ornamentation  which  constitutes  the  principal  object  of  this  work. 

It  has  already  been  pointed  out  that  the  Painters  and  Sculptors  were  the 
first  who  in  their  works  showed  a  tendency  towards  the  resuscitation  of  classic 
art  and  this  is  specially  the  case  with  the  latter,  who,  not  only  in  Italy  but  in 
France,  Spain,  England,  Germany  and  in  the  Netherlands  showed  in  tombs  and 
other  works  of  a  decorative  character  how  complete  was  the  change  in  con- 
ception and  execution.  In  architecture  the  construction  forms  of  the  Gothic  style, 
the  traditional  craft  of  the  mason  could  not  be  thrown  aside  at  once,  but  for 
a  tomb  in  which,  as  an  ideal  subject  uninfluenced  by  questions  of  utility  or  con- 
struction, the  artist  was  free  to  mould  his  design  in  accordance  with  his  imagi- 
native powers  there  was  no  restriction.  Hence  we  find  that  not  only  in  Italy, 
but  in  other  countries  the  earliest  examples  of  the  Renaissance  are  to  be  found 
in  tombs,  as  in  those  at  Le  Mans  and  Nantes  in  France  and  in  England,  in 
Torregiano's  work  at  Westminster  Abbey,  1516. 

It  was  in  the  earlier  Renaissance  that  ornament  received  its  chief  develop- 
ment both  in  design  and  beauty  of  execution,  and  this  not  only  in  Italy,  but  in 
France  and  Spain.  The  examples  on  plate  205  from  the  Miracoli  church  in 
Venice  (1480—89)  by  Pietro  Lombardo,  those  on  plate  207  from  the  facade 
of  the  Certosa  near  Pavia  (1473)  by  Burgognone  and  the  pilasters  of  the  Town 
hall  at  Brescia  are  among  the  more  remarkable  in  Italy,  whilst  in  France,  in  the 
choir  stalls  and  screens  of  some  of  the  cathedrals  and  churches  and  in  the 
chateaux  of  Blois,  Chambard,  and  Azay-le-Rideau  on  the  Loire  and  in  the  South 
of  France  at  Toulouse  and  Rodez  (Fig.  3  Plate  216),  and  in  Spain  in  the  Uni- 
versity of  Salamanca  (Fig.  3  Plate  253)  will  be  found  a  richness  and  variety 
of  design  which  is  characteristic  of  the  period. 


ITALIAN  RENAISSANCE  ORNAMENT.  34 1 


The  Renaissance  in  Italy. 


The  Early  Renaissance  commenced  in  the  first  quarter  of  the  15th  century  in  Florence, 
whence  it  spread  to  Milan,  Venice  and  other  towns  in  the  North  of  Italy,  and  towards  the 
end  of  the  15th  century  to  Rome.  The  first  architect  who  studied  seriously  the  monuments 
of  classic  art  and  transmitted  their  spirit  into  his  own  work  was  Filippo  Brunelleschi,  an 
artist  of  powerful  genius,  who  in  the  construction  of  the  cupola  of  the  Cathedral  at  Florence 
(1220—34)  and  the  churches  of  St.  Lorenzo  and  St.  Spirito  in  the  same  town  showed  his 
great  qualities  as  an  artist  and  builder.  He  was  followed  by  Michelozzo,  to  whom  we  owe 
the  Chapel  of  St.  Peter  (1460)  in  St.  Eustorgio,  Milan,  and  the  Riccardi  (1430)  the  first 
Renaissance  example  of  a  palace  of  which  the  second  was  the  Strozzi  palace  1489  by  Majano 
(1442—97)  and  Cronaca  (1454—1509).  Then  followed  Alberti  (1404—72),  whose  chief  work 
was  the  front  of  the  church  at  Rimini  (1446 — 54)  and  the  church  of  St.  Andrea  at  Mantua 
(1472),  Giovanni  de  San  Gallo  (1445—1516),  Antonio  de  Sangallo  (1455—1534),  Bramante 
d'Urbino  (1444—1514)  the  architect  of  the  church  at  Todi  but  better  known  in  connection 
with  his  work  of  St.  Peter's,  Rome,  which  he  commenced  in  1505  and  the  Cancellaria  Palace 
in  the  same  city.  Peruzzi  (1481—1531),  the  architect  of  the  Massimi  palace  in  Rome;  the 
Lombardi  family  in  Venice,  Pietro  Lombardo  (1430—1515)  the  architect  of  the  MiracoH  church, 
Sante  Lombardo  (1504—1560)  who  designed  the  Vendramini  Palace  and  Tullio  Lombardo 
(1452—1537)  the  Cornaro-SpineUi  Palace.  To  these  must  be  added  San  MicheU  (1494—1559) 
the  architect  of  the  Bevilacqua  palace  at  Verona  and  the  Grimani  palace  at  Venice;  Sanso- 
vino  (1477—1570)  who  designed  the  Library  and  the  Loggia  at  Venice,  Vignola  (1507—73) 
whose  chief  work  was  the  castle  of  Caprarola,  40  miles  from  Rome,  and  Palladio  (1519 — 81) 
the  architect  of  the  Basilica  and  other  palaces  at  Vicenza. 

Illustrations  of  the  work  of  some  of  the  architects  above  mentioned  are  given  in  the 
plates.  Thus  in  plate  201  Michelozzo  and  San  Gallo  are  represented,  and  in  plate  203  San 
Gallo  and  Sansovino.  In  plate  204  illustrations  from  the  Loggia  of  the  Vatican  are  given 
.  which  was  painted  by  Raphael,  who  drew  his  inspiriation  from  the  rich  decoration  in  painting 
and  stucco  found  in  the  Golden  House  of  Nero,  which  had  been  buried  beneath  the  Thermae 
of  Titus.  To  this  type  of  decoration  the  title  Raphaelesque  is  frequently  given.  Pietro 
Lombardos  work  is  shown  on  Plate  205,  end  Burgognone's  on  Plate  207. 


342 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  201. 


ITALIAN  RENAISSANCE  ORNAMENT.  343 

Plate  201. 

Florence. 

Florence  was  the  principal  centre  of  the  Early  Renaissance  and  developed  a  type  of 
palace  which  become  the  standard  for  all  Italy. 

Fig.  1.  Window  from  the  court-yard  of  the  Palazzo  Riccardl.  This  palace  was  designed 
and  begun  in  the  year  1430  by  Michelozzo  Michelozzi.  The  court-yard  was  built 
by  Bartolomeo  Amanati.  (Schutte,  Ornamentale  und  architektonische  Studienblatter 
aus  Italien.) 

„     2.    Principal  cornice  of  the  facade  of  the  Riccardi  palace  (Schtitte). 

„  3.  Octagonal  column  in  stucco-work  from  the  Palazzo  Vecchio.  This  palace 
was  built  in  the  year  1298  by  Arnolfo  di  Cambio,  but  enlarged  in  1434  by  Michelozzi, 
and  in  1550  by  Vasari.  The  stucco-work  of  the  column  was  done  in  the  year  1565 
by  Marco  da  Faenzo  on  the  occasion  of  the  marriage  of  Francesco  de  Medici  (Schutte). 

„  4.  Capital  of  column  in  the  court-yard  of  the  Palazzo  Gondi.  The  palace  was 
commenced  in  1481  by  Giuliano  de  San  Gallo  (Schiitte). 

„     5.    Sepulchral  slab  from  Santa  Croce,  Florence  (Dolmetsch). 

„  6.  From  a  monument  in  the  church  of  the  Holy  Apostles  in  Florence  (L'art 
pour  tous). 

Plate  202. 

Florence. 

Fig.  1.    Facade  in  sgraffito- work  from  the  palace  of  Montalon  (D'Espouy,  Renaissance). 
„     2.    Detail  of  a  cornice  from  the  Hall  of  the  Two  Hundred  in  Palazzo  Vecchio 

(Schatte). 
„     3.    Door  border  in  the  Hall  dell'Orologio  in  the  Palazzo  Vecchio  (Schutte). 
„     4.    Sketch  for  a  folding-door,  from  a  pen  and  ink  drawing  by  Giovanni  da  Bologna. 

In  the  Florence  (Hirth,  Formenschatz). 
„     5.    Coat  of  arms  curved  in  stone  from  the  Palazzo  Feroni  (L'art  pour  tous). 


Plate  203. 

Rome. 

In  the  development  of  the  Early  Renaissance  Rome  played  no  part  at  first,  the  style 
being  introduced  from  Florence. 
Fig.  1.    From  the  tomb   of  a  prelate  in  the  church  of  Santa  Maria   del  Popolo. 

This  tomb,   which  was  built  by  Andrea  Tatti  called  Sansovino,  is,  according  to 

Burkhardt,  the  most  perfect  work  which  has  ever  been  produced  by  the  union  of 

Decoration  and  Sculpture  (Hirth). 
„     2.     Balustrade   of  a   balcony  in   the  Sixtine  Chapel  (Holtzinger,   Geschichte  der 

Renaissance  in  Italien). 
„     3,  and  4.    Details  from  the  facade  of  the  Palazzo  Farnese,  built  by  San  Gallo  in 

the  years  1470—1546  (Schutte). 
„     5,  and  6.    Flat-reliefs  from  a  tomb  in  the  church  of  Santa  Maria  del  Popolo 

(Dolmetsch). 
„     7.    From  a  tomb  of  a  prelate  in  the  church  of  Santa  Maria  del  Popolo.    This, 

the  same  as  Fig.  1,  was  built  by  Andrea  Tatti  called  Sansovino   in  the  years 

1460—1529.    These  tombs  in  the  choir  of  the  church  are  the  tombs  of  the  two 

Prelates  Basso  and  Sforza  Visconti  (Hirth). 


344 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  202. 


.''=^^ii^i='^^iiM;!^-^::i:C-$i!^>^i>!^'^'^^ 


mMumumj)mj) 


W^W^^M^iWMMMM'm"^W^Mff^^] 


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.iUi.iiyiJRAm)MUJiii 


ijttfxrxiU-uxt-i-U-iumcmsCTra 


Plate  203. 


ITALIAN  RENAISSANCE  ORNAMENT. 


345 


346 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  204. 


Plate  205. 


ITALIAN  RENAISSANCE  ORNAMENT. 


347 


UUUUUUUUUUU" 


/r^  ■^v  -y-  vy  ■.;.   J  -y  '{^  ^y  ^  vY  -f  "■••r;\ 


348 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  206. 


ITALIAN  RENAISSANCE  ORNAMENT.  349 

Fig.  8.    Sgraffito-work  from  the  house  No.  82,  Via  Giulia  (Dolmetsch). 
„     9.    Sgraffito-work  from  the  house  No.  148,  Via  dei  Coronari  (Dolmetsch). 
„    10.    Sgraffito- work  from  the  house  No.  4,  Borgo  al  vicolo  del  Campanile  (Dolmetsch). 


Plate  204. 

Rome. 

Fig.  1.  Marble  frieze  in  the  church  of  Santa  Maria  del  Popolo  (Holtzinger). 

„  2.  Mural  painting  from  the  Raphael  Loggia  in  the  Vatican  (L'art  pour  tous). 

„  3.  Sgraffito-work  from  the  house  No.  82  Via  Giulio  (Dolmetsch). 

„  4.  Mural  painting  by  Annibale  Caracci  in  the  Palace  Farnese  (Mirth). 

„  6.  Painting  in  the  Raphael  Loggia  in  the  Vatican  (D'Espouy). 


Plate  205. 

Venice. 

The  Renaissance  did  not  make  its  appearance  in  Venice  until  the  year  1450,  but  in 

combination  with  the  older  architecture  native  to  the  city  developed  into  a  peculiar  and 

characteristic  style. 

(After  Cicognara,  Monumenti  di  Venezia.) 

Fig.  1,  and  2.    Column  and  archivolt  in  the  Presbytery  of  the  church  of  Santa  Maria 

dei  Miracoli. 


Plate  206. 

Venice. 
(After  Cicognara,  Monumenti  di  Venezia.) 

Fig.  1.    Monument  of  Generosa  Orslna,  erected  by  her  husband  in  the  church  of 

Santa  Maria  Gloriosa  dei  Frari. 
„     2.    Door  border  from  the  Royal  Chapel  in  St.  Marks. 
„     3.    Equestrian  statue  by  Bartolommeo  CoUeoni  on  the  Piazza  of  San  Gio  and 

Paolo. 
„     4.    Mantel  piece  in  the  Sala  del  Collegio  in  the  Ducal  Palace. 


Plate  207. 

Certosa  of  Pavia. 
(After  Mirth,  Formenschatz.) 

Fig.  1.  Pillars  from  the  niche  with  principal  facade.  The  material  used  is  white  marble. 
The  principal  sculptor  was  Ambrogio  da  Fossano,  called  Borgognone,  but  the  work 
was  begun  in  the  year  1473.  In  this  master  work  of  the  Italian  Early  Renaissance, 
however,  which  was  completed  at  the  end  of  the  15th  century,  other  sculptors 
also  took  part,  amongst  them  being  Giov.  Ant.  Amadeo,  Christoforo  da  Roma,  Andrea 
Fusina,  Christoforo  Solari  called  il  Gobbo  and  Agostin  Busti  called  Bambaja. 

„  2.  Window  in  the  principal  facade,  Burkhardt  calls  it  the  Triumph  of  all  Deco- 
ration Work. 

„     3.    Pilaster,  frieze,  and  principal  cornice. 


350 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  207. 


Plate  208. 


ITALIAN  RENAISSANCE  ORNAMENT. 


351 


352 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  209. 


1(1  !ifl  1)1  niiiiiifirifiMliiiiiiiiii'iiiiMiiMii  fill  !iO'i|iii^!liH»Hiinii)inaiiniin6in;iiiiiuniiiianii 


jjjjjjjj 


lAA.'.,^A■A;.U,^■•AA^AAA/J■A■„^.Wa.^J.^^J^AM.^>AV■^.>./LU 


ITALIAN  RENAISSANCE  ORNAMENT.  353 

Plate  208. 

Sicily, 
(After  J.  J.  Hittorff  et  L.  Zanth,  Architecture  Moderne  de  la  Sicile.) 
Fig.  1.    Door  from  the  Benedictine  Cloister  in  Catania. 
„     2,  and  5.    Fountain  in  the  cathedral  Square  at  Messina. 
„     3,  and  6.    Reliefs  from  the  large  fountain  on  the  cathedral  Square,  Messina. 
„     4.    Window  from  the  Benedictine  Cloister  in  Catania. 
„     7.    Statue  of  Neptune  from  the  large  fountain  on  the  quay  at  Messina. 


Plate  209. 

Fig.  1.    Doorway  from  the  church  of  St.  Andrea  in  Mantua  (Nicolai,  Ornament  der 

italienischen  Kunst  des  15.  Jahrhunderts). 
„     2.    Glass   painting   in   the   Library  at  Florence,  painted  by  Giovanni  da  Udine 
(1494—1564),  (Hirth). 

3.  Small  column  from  the  Palazzo  Municipale  in  Perugia  (Raguenet). 

4.  Inlaid  marble-work  in  the  floor  of  the  cathedral  of  Siena  (Dolmetsch). 

5.  Flat-relief  from  the  Vendramini  tomb  in  the  church  of  San  Giovanni  e  Paolo, 
Venice  (Dolmetsch). 

6.  Wrought-iron  railing  from  Venice  (L'art  pour  tous). 

7.  Telamonic  support  from  the  Palazzo  Durazzo  in  the  Via  Novissima,  Genoa 
(Raguenet). 

8.  Ceiling  in  the  Ducal  Palace  in  Mantua  (Nicolai). 

9.  Stairs  of  a  Palace  in  Florence  (Raguenet). 


Plate  210. 

Fig.  1.    Intarsia  work  from  a  Stall  in  the  church  of  Santa  Maria  Novella,  Florence 

(Teirich,  Intarsien). 
„     2.    Coffer  in  the  Parish  Picture  Gallery  in  Spoleto,  10th  century  (Boito). 
„     3.    Table,  Italian-work,  from  the  16th  century,  at  present  in  the  Arts  and  Crafts 

Museum  in  Berlin  (Boito). 
„     4.    Bronze  knocker  from  the  Strozzi  Palace,  Florence  (D'Espouy). 
„     5.    Wooden  panel  from  the  Castle  of  Salmes.  Piedmontese  work  of  the  16th  century. 
„     6.    Intarsia  work  from  a  Stall  of  the  Certosa  near  Padua  (Teirich,  Intarsien). 


Plate  211. 

Italian  Majolica. 

Fig.  1.    Faience  dish  from  Urbino  (Roger-Miles). 

„  2.  Majolica  dish  by  Maestro  Giorgio  da  Gubbio,  in  the  South  Kensington  Museum. 
Dates  from  the  year  1525.  The  Arabesques  of  this  Master  are  generally  executed 
in  yellow  and  green  (Jannicke,  Keramik). 

SPELTZ,  styles  of  Ornament  23 


354 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  210. 


g<rH^^;JMl^yv'lf|l^Vnf!t^(l^f/n.■W^^V,lW/^\-^ill^A^/^ 


Plate  211, 


ITALIAN  RENAISSANCE  ORNAMENT. 


355 


23^ 


356 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  212. 


ITALIAN  RENAISSANCE  ORNAMENT.  357 

Fig.  3.  Apothecary's  vase  from   Castel  Durante.     In  the  British  Museum  (Jannicke). 

„  4.  Majolica  can  by  Maestro  Giorgio  da  Gubbio  (Jannicke). 

„  5.  Venetian  dish.    In  the  South  Kensington  Museum  (Jannicke). 

„  6.  Floor  with  marble  mosaic  in  the  cathedral  of  Siena.    The  work  of  Beccafumi 

from  the  year  1372  (Raguenet). 

„  7.  Apothecary's  pot  from  Siena.    In  the  South  Kensington  Museum  (Jannicke). 

„  8.  Caffaggiolo.    In  the  South  Kensington  Museum  (Jannicke). 


Plate  212. 


Fig.   1.    Sweetmeat  tazza,  after  a  drawing  ascribed  to  Benvenuto  Cellini  (Havard). 
„     2,  and  4.    Venetian  glasses  from  the  Murano  glass  works,   17tii  century  (L'art 

pour  tous). 
„     3,  10,  and  11.    Venetian  glasses  (Roger-Mil&s  and  Havard). 

„  5,  and  6.  Ewer  of  enamelled  gold,  at  present  in  the  Uffizien,  Florence  (Dolmetsch). 
„  7.  Goblet  of  beaten  silver,  gilt  and  chased,  said  to  be  the  work  of  Benvenuto  Cellini. 
„     8,  and  9.    Cut  glass  tazza  with  enamelled  cover,  16th  century  (Havard). 


Plate  213. 

Fig.  1.  Court  mantle  of  embroidered  silk  (Roger-Miles). 

2.  Crotchet- work,  16th  century  (Roger-Miles). 

3.  Venetian  embroidery  with  raised  embroidered  flowers  (Roger-Miles). 

4.  Application  embroidery,  16'^  century  (Dupont  and  Auberville). 

5.  Silk  damask,  16th  century  (Dupont  and  Auberville). 

6.  Genoese  velvet  pattern  (Dupont  and  Auberville). 


Plate  214. 

Fig.  1.    Book-marker  from  the  Milan  Chronicles  of  Bernardino  Corlo.  Milan,  Alexander 

Minutiano,  1503  (Hirth). 
„     2.    Alphabet  for  embroidery  from  the  year  1529.    From  the  work  "Esemplario  di 

Lavori"  by  Nicolo  Zoppino,  a  Venetian  drawer  and  copper-engraver  (Hirth). 
„     3.    Initial   of  Johannes  Regiomontanus,  taken  from   his  work  "Epitoma  in  Alma- 

gestum  Ptolemei",  Venezia  1496  (Hirth). 
„     4.    Head-dress,  16th  century  (Roger-Mil&s). 

„     5.    Initial  of  the  printing-office  of  Ottavio  Scoto.    Venice  1490—1510  (Hirth). 
„     6.    Leaf  from  the  works  of  Nicolo  Zoppino,  see  Fig.  2  (Hirth). 
„     7.    Venetian  embroidery  pattern  from  the  year  1543.  From  the  work  "Esemplario 

di  Lavori"  by  Giovanandrea  Vavassore  (Hirth). 


358 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  213. 


Plate  214. 


ITALIAN  RENAISSANCE  ORNAMENT. 


359 


360 


ITALIAN  RENAISSANCE  ORNAMENT. 


Plate  215. 


ITALIAN  RENAISSANCE  ORNAMENT. 


361 


Plate  215. 

(After  Hirth,  Formenschatz.) 

Fig.  1.    Panel  decoration  (Dolmetsch). 

„     2.    Venetian  bellows,  16th  century. 

„  3.  Sword,  said  to  be  given  by  Francis  I  to  the  Graf  von  Lannoy,  Vice-Regent  of 
Naples.    It  is,  however,  Italian  work. 

„     4.    Design  for  a  harp,  after  a  water-colour  drawing  in  the  Uffizi  in  Florence. 

„  5.  Helmet  of  the  Archduke  Ferdinand  of  Tyrol.  Italian  gold-damascened  orna- 
mented work  of  the  year  1550.  In  the  Art  Historical  Collection  of  the  Imperial 
House  in  Vienna. 


Window  from  the  Laurentian  Library  in  Florence 

(Dolmetsch). 


362 


FRENCH  RENAISSANCE  ORNAMENT. 


The  Renaissance  in  France. 


1 

s 

Printing  Initial 

(Dolmetsch). 


ext  into  France  during  the  last  quarter  of  the  15'^  century  the  influence 
of  the  Renaissance  movement  spread;  but  owing  to  the  still  lingering 
vitality  of  the  Flamboyant  Gothic  Style,  at  first  it  was  able  only 
to  modify  the  decorative  details,  forming  that  which  is  known  as 
a  transitional  style,  which  lasted  during  the  first  quarter  of  the 
16*h  century.  On  the  accession  of  Francis  Jst,  the  new  art  was 
devoted  more  to  secular  than  to  ecclesiastical  architecture,  and  then 
arose  the  magnificent  palaces  and  chateaux  of  the  Loire  at  Cham- 
bord,  Blois,  Azay-le-Rideau,  etc.,  which  must  be  regarded  as  the 
masterpieces  of  the  early  French  Renaissance;  it  was  also  gradually 
employed  in  domestic  architecture  throughout  the  towns  of  France.  Here  also,  as  in  Italy, 
the  individuality  of  the  architect  or  master  mason  became  a  real  factor  and  the  work  pro- 
duced was  connected  with  their  names.  Thus  we  have  Hector  Sohier,  the  architect  of  the 
chevet  of  the  church  of  St.  Peter's  at  Caen  (1520);  the  Chambiges,  uncle  and  nephew, 
Pierre  Lescot  (1510—1578),  the  architect  of  the  Louvre.  Robert  Lerou,  Pierre  Fain,  Philibert 
de  rOrme  (1515—1570),  who  designed  the  Tuileries  for  Marie  de  Medicis,  Jean  Bullant 
(1520—1598),  and  others,  bringing  us  down  to  the  close  of  the  16th  century.  Shortly 
afterwards  follow  the  periods  of  Louis  Xlll.  and  Louis  XIV.,  whose  work  comes  more  under 
the  range  of  the  Later  Renaissance.  In  the  latter  part  of  the  reign  of  Louis  XIV.,  when  pomp 
and  display  were  the  fashion,  the  Renaissance  ornament  degenerated,  leading  the  way  to 
the  last  change,  viz,  that  of  the  Rococo  period. 


Embroidery  Pattern  (Roger-Miles). 


Plate  216. 


FRENCH  RENAISSANCE  ORNAMENT. 


363 


MnKKjjMlHHmilllM^ 


364 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  217. 


^^~^A^MIIi^Sd£M^}^^!^ikd^  ' 


wm-"^ 


FRENCH  RENAISSANCE  ORNAMENT.  365 

Plate  216. 

(After  Raguenet,  Materiaux.) 

Fig.  1.    Door  Head  in  Hotel  Lallemand,  Bourges,  16th  century. 
„     2.    Window  of  a  house  in  the  Rue  des  Focques,  Dijon,  W^  century. 
„     3.    Decoration  of  pierced  panel  in  the  choir  of  the  cathedral,  Rodez  (Aveyron). 

From  16th  century. 
„     4.    Door  of  a  private  house  in  Langres,  Haute  Marne,  16th  century. 


Plate  217. 


Fig.   1.    Frieze  ornamentation  of  a  room  in  the  Louvre  (Raguenet). 
„     2.    Door  at  angle  of  house  in  the  Rue  de  la  Grosse  Horloge  in  La  Rochelle, 

Charente  Inf^rieur,  16th  century. 
„     3.    Capital  from  the  Baptistery  of  Louis  XllL  In  the  Palace  at  Fontainebleau 

(Dolmetsch). 
„     4.    Doric  Renaissance  Order  after  Philibert  de  I'Orme  (Mauch). 
„     5.    Ceramic  panel  (Raguenet). 

„     6.    Fire-place  in  the  Ducal  Palace,  Nancy,  Meurthe  et  Moselle,  16th  century  (Raguenet). 
„     7.    Cresting  of  the  stalls  in  the  church  of  Arques  near  Dieppe,   16th  century 

(Raguenet). 
„     8.    Hermes  in  the  Hotel  d'Assezat,  Toulouse,  from  the  time  of  Henry  II.  (Dolmetsch). 
„     9.    Has  relief  in  the  Hotel  Carnavalet,  Paris,  16th  century  (Raguenet). 


Plate  218. 

(Pfnor,  Palais  de  Fontainebleau.) 

Fig.  1.  Capital  of  marble  in  the  Palace  of  Fontainebleau. 

„  2.  Exterior  pilaster  in  the  Chapel  of  St.  Saturnin. 

„  3.  Pedestal  from  the  Chapel  of  St.  Saturnin. 

„  4.  Porte  Dauphine. 

„  5.  Pilasters  from  the  Baptistery  of  Louis  XIII. 


Plate  219. 

Fig.   1.    Ornament  of  the  time  of  Francis  \.  (Racinet). 

„     2.    Ornament  of  the  time  of  Henry  IL  (Racinet). 

„     3.    Ornament  of  the  time  of  Charles  IX.  (Racinet). 

„     4.    Ornament  of  the  time  of  Henry  III.  (Racinet). 

„     5.    Decorative  motif  by  Jean  Cousin,  from  his  book  on  Perspective  (Racinet). 

„     6.    Border  from  book  (Hirth,  Formenschatz). 

„     7.    Decorative  panel  in  the  Louvre,  time  of  Henry  11.  (Dolmetsch). 

„  8.  Coffered  ceiling  from  the  ancient  Grand  Chamber  of  the  Parliament  of  Nor- 
mandy in  the  Law  Courts  at  Rouen  (Racinet).  This  building,  which  was  erected 
by  order  of  Louis  XII.  and  the  Cardinal  of  Amboise,  was  begun  in  1499  and  com- 
pleted in  1514.    The  ceiling  is  of  oak. 


366 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  218. 


Plate  219. 


FRENCH  RENAISSANCE  ORNAMENT. 


367 


368 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  220. 


:i^^^av^AV^ki^  Jt-tA^.-t.-.C'^J 


^^1? 


Plate  221. 


FRENCH  RENAISSANCE  ORNAMENT. 


369 


SPELTZ,  Styles  of  Ornament. 


24 


370 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  222. 


FRENCH  RENAISSANCE  ORNAMENT.  371 

Plate  220. 

Furniture. 
(After  Bajot,  Musees  de  Louvre  et  de  Cluny.) 
Fig.   1,  and  2.    Arm  chair,  16th  century.    In  the  Louvre. 
„     3.    Oak  Buffet,  16th  century.    In  the  Cluny  Museum. 
„     4.    Cabinet  in  walnut,  from  the  time  of  Louis  XIII.  (L'art  pour  tous). 
„     5.    Arm  chair,  16th  century.    In  the  Cluny  Museum. 
„     6.    Table,  16th  century.    In  the  Cluny  Museum. 


Plate  221. 

Fig.  1.    Mural  decoration  in  glazed  terra-cotta,  16th  century.    In  the  Louvre  (Havard, 

Dictionnaire  de  I'ameublement  et  de  la  decoration). 
„     2.    Faience  dish,  by  the  celebrated  potter  Bernard  Palissy,  Agen  (Jannicke). 
„  '  3.    Jug  In  Oiron  faience.    In  the  South  Kensington  Museum  (JMnnicke,  Grundriss 

der  Keramik). 
„     4.    Terra-cotta  figure.    In  the  Louvre  (Jannicke). 
„     5.    Stoneware  jug,  16th  century  (Havard). 
„     6.    Small  jug  by  Bernard  Palissy,  Agen  (Jannicke). 
„     7,  and  9.    Inlaid  floor-tiles  after  Viriot-Woeriot  (Roger-Miles). 
„     8.    Faience  jug,  Bernard  Palissy,  Agen  (Roger-Miles). 


Plate  222. 

Fig.  1,  4,  and  5.    Halberds  from  the   Early  Renaissance  (1453—1515)  with  distinctly 

marked  Gothic  reminiscences  (Roger-Miles). 
„     2,  and  3.    Helmet  and  sword  hilt,  probably  owned  by  Francis  I.  (Roger-Mil^s). 
„     6.    Sword  hilt,  from  the  1st  half  of  16th  century  (L'art  pour  tous). 
„     7.    Wrought-iron  candle-stick,  16th  century  (Havard). 
„     8.    Silver  warming-dish  (Havard). 
„     9.    Pair  of  scissors,  16th  century  (Havard). 
„    10.    Tankard  with  cover,  16th  century  (Havard). 


Plate  223. 

Fig.  1,  8,  10,  and  14.   Silver  knife,  fork  and  spoon  (Havard,  histoire  de  I'orfeverie  franfaise). 
„     2.    Neck  pendant  after  Viriot-Woeriot  (Roger-Miles,  Comment  discerner  les  styles). 
„     3.    Enamelled  crystal  glass  (L'art  pour  tous). 
„     4.    Figures  engraved  glass  (L'art  pour  tous). 

„     5.    Wine  decanter  of  rock-crystal,  ornamented  with  precious  stones  (Havard). 
„     6,  and  9.    Fork  and  spoon,  silver  gilt  (Roger-Miles). 
„     7.    Enamelled  plate,  ascribed  to  Meister  Jean  Penicaud  (Havard). 
„    11.    Helmet  of  Charles  the  Bold,  set  with  pearls  and  precious  stones.   From  a  drawing 

in  the  Arsenal  Library  (Havard). 
„    12.    Dagger-sheath  (Racinet). 
„   13.    Costume  as  emblem  of  the  Jeweller's  Art,  after  Larmessin  (Havard). 

24  • 


372 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  223. 


Plate  224. 


FRENCH  RENAISSANCE  ORNAMENT. 


373 


374 


FRENCH  RENAISSANCE  ORNAMENT. 


Plate  225. 


'lis*  I  "'"^ 


Plate  226. 


FRENCH  RENAISSANCE  ORNAMENT. 


375 


i; 


f[ 

1 

jffi/ii 

i 

IB 

fl 

\ 

> 

( 

f  T  "^x 

■ 

.  . 

mim 

376 


FRENCH  RENAISSANCE  ORNAMENT. 


Fig. 

•I 
» 


Plate  224. 

1.  Valenciennes  lace.    Mailles  doubles.    In  the  Dutuit  Collection. 

2.  Valenciennes  lace.    Mailles  rondes.    In  the  Dutuit  Collection. 

3.  Silk  pattern,  16th  century  (Dupont-Auberville,  Collection  of  Decorations). 

4.  Wall  tapestry  in  the  Palace  of  Fontainebleau,  16th  century  (Dolmetsch). 

5.  Embroidery   from  the  time   of  Catherine   de  Medicis,  Point  coupe,  that  is, 
embroidery  sewn  on  fine  Cambric  (Roger-Miles). 

6.  Embroidery  from  a  bed.    Presented  to  the  Trappists  near  Montague  by  Henry  II. 
on  his  departure  from  the  Monastery  (Dupont-Auberville). 

7.  Velvet  pattern,  16th  century  (Dupont-Auberville). 

8.  Gold  embroidered  cushion,  16th  century  (Havard). 


Fig. 


Plate  225. 

1.  Ivory  fan,  17th  century.    In  the  Louvre  (Hirth). 

2.  Hand  mirror  from  a  design  by  Etienne  de  Laune.    From  a  copper  engraving 
from  the  year  1560  (Hirth). 

3.  Key  by  Mathurin  Jousse  de  la  Fleche,  of  the  year  1625  (Hirth). 

4.  Book  cover  with  the  arms  of  Henry  II.  (Dolmetsch), 

5.  6,  and  7.    Dagger  hilts  etc    From  designs  by  Antoine  Jaequard,  copper  engraver 

and  armourer  in  Poitiers,  1st  half  of  the  17th  century  (Hirth). 


Plate  226. 

Fig.   1,  3—6,  9,  and  10.     Painted  ornament  from  the  Castle  of  Cheverny  near  Blois 

(Eugene  Rouyer,  L'art  architectural  en  France). 
„     2,  and  7.    Engraved  frontispieces  from  the  Theatre  des  bons  Engins,  published  in 

Paris  in  1539  by  Guillaume  de  la  Perrieire,  and  dedicated  to  Queen  Margaret  of  Navarre. 
„     8,  and  12.    Inlaid,  gold  in  wood,  from  the  castle  of  Ecouen  (Eugene  Rouyer,  L'art 

architecture!  en  France). 
„    11.    Inlay  from  the  Cardinal's  Room  In  the  Castle  of  Ancy-Le-Franc. 


Typographic  ornamentation  of  the  time  of  Louis  XIII.  (Dolmetsch). 


SPANISH  RENAISSANCE  ORNAMENT. 


377 


Renaissance  Ornament  in  Spain  and  Portugal. 


Initial  by  Juan  de  Yciar  (Hirth). 


pain  accustomed  by  Moorish  Art  to  fantastic  forms 
and  configurations,  worked  the  new  italics,  which 
came  into  the  country  from  France  and  Italy  to- 
wards the  end  of  the  15th  century,  at  first  into 
the  Plateresque  or  Goldsmith's  Style  in  which  form 
the  Early  Renaissance  appeared  in  Spain.  It  was 
not  until  the  time  of  Philip  II.,  after  Charles  V. 
had  a  palace  built  by  Malchuca  in  the  Alhambra, 
that  a  pure  Renaissance  Style,  called  by  the  Spa- 
niards, the  Graeco-Roman,  came  to  be  established. 
The  most  magnificent  structure  of  this  period  is 
the  Escurial  (1563 — 1581),  which  was  built  by 
Gian  Baptista  de  Toledo,  and  his  successor  Juan 
de  Herrera. 


Plate  227. 

(After  Monumentos  de  Espafia.) 

Fig.  1.    Head  of  a  nail  from  the  door  of  the  University  of  Salamanca. 
„     2.    Corner-piece  from  the  tomb  of  Cardinal  Ximenez  or  Cisneros  as  he  is  best 

known  in  Alcaic  de  Henares. 
„     3,  and  9.    Pilasters  from  the  door  of  the  University  of  Salamanca. 
„     4—8.    Details  of  the  facade  of  the  University  in  Alcaic  de  Henares. 


Plate  228. 

(After  Monumentos  de  Espana.) 

Fig.  1.    Figure  from  the  facade  of  the  University  in  Alcala  de  Henares. 
„     2.    Finial  in  the  Court  of  the  Archiepiscopal  College,  at  present  the  Irish  College, 

in  Salamanca. 
„     3.    Finial   from  the  door  of  the  vestibule  of  the  ancient  Hospitales  Santa  Cruz 

in  Toledo. 
„     4.    Doorway  of  a  house  in  Palma,  Majorca  (Prentice). 
„     5.    Pilaster  capital  from  the  gate  of  the  University  of  Salamanca. 
„     6.    Bracket   capital  of  the  gallery  in  the  Archiepiscopal  Palace  in  Alcala  de 

Henares. 
„     7.    Cartouche  from  a  house  in  Palma,  Majorca  (Prentice). 


378 


SPANISH  RENAISSANCE  ORNAMENT. 


Plate  227. 


Plate  228. 


SPANISH  RENAISSANCE  ORNAMENT. 


379 


380 


SPANISH  RENAISSANCE  ORNAMENT. 


Plate  229. 


Plate  230. 


SPANISH  RENAISSANCE  ORNAMENT. 


381 


382 


SPANISH  RENAISSANCE  ORNAMENT. 


^^^t.^^%^^^^^  ^ 


Plate  231 


-^^ 


Plate  232. 


SPANISH  RENAISSANCE  ORNAMENT. 


383 


384 


SPANISH  RENAISSANCE  ORNAMENT. 


Plate  233. 


WlcttaOm^l 


LET  R  A  S 


V  I Z  C  /\  V  N  OyrTky-^l 


SPANISH  RENAISSANCE  ORNAMENT.  385 

Plate  229. 

Fig.  1,  and  5.    Details  of  the  north  facade  of  the  Royal  Alcazar  in  Toledo  (Monu- 
mentos  de  Espaila). 
„     2.    Order  from  the  altar  in  the  cloister  of  Poblet,  said  to  be  the  work  of  the 
Spanish  Sculptor  Berruguette,  a  pupil  of  Michael  Angelos  (Andrew  Prentice,  Renais- 
sance Architecture  in  Spain). 


Plate  230. 

(After  Andrew  N.  Prentice,  Renaissance  Architecture  and  Ornament  in  Spain.) 
Fig.  1,  4,  7  and  8.    Ceilings  in  carved  wood  in  the  vestibule  of  the  Archiepiscopal 

Palace  in  Alcald  de  Henares. 
„     2.    Column  of  a  wrought-iron  grating  in  the  cathedral  of  Cuenca. 
„     3.    Pillar  from  the  Stairshouse  in  the  cathedral  of  Burgos. 
„     5.    Coronal  of  an  iron  trellis-work  in  the  baptism-chapel  of  the  cathedral   of 

Toledo. 
„     6.    Panel  of  a  door  in  the  palace  of  the  Duke  of  Alba  in  Peharanda. 
„     9.    Cornice  of  the  Consistory  in  Palma,  Majorca. 


Plate  231. 

(After  Andrew  N.  Prentice,  Renaissance  Architecture  and  Ornament  in  Spain.) 

Fig.  1.  Inner  gallery  of  Polentina  House  in  Avila. 

„     2.  Gateway  from  Avila. 

„     3.  Iron  railing  from  Cuenca. 

„     4.  Frieze  from  the  stone  door  of  the  cathedral  of  Sigiienza. 

„     5.  Iron  railing  from  the  cathedral  of  SigQenza. 

„     6.  Balcony  from  Palma,  Majorca. 


Plate  232. 

Fig.  1.     Helmet  from  the  Armeria  in  Madrid  (L'art  pour  tous). 

2.  Secretaire,   16th  century.    In  the  South -Kensington  Museum.     Transition  period 
(Libonis). 

3.  Folding  chair  from  the  cathedral  of  Toledo.    Of  black  wood  incrusted  with 
ivory,  16th  century  (Raguenet). 

4.  Embroidered  carpet,  end  of  16th  century.    In  Platersque  style,  from  the  Collection 
of  Domingo  Guerrero  y  Polo  in  Barcel  (Mira  Leroy). 

5.  Reading-desk  of  wrought  chased  iron,  end  of  16th  century  (Mira  Leroy). 

6.  Pendant  ornament  (L'art  pour  tous). 


Plate  233. 


Fig.  1—5.  Lettering  from  designs  by  Juan  de  Yciar,  Painter  and  Writing  Master, 
born  1525  in  Durango,  Biscaya:  "Arte  subtilissima  por  la  qual  se  esenna  a  escrivir 
perfectamente,  Saragossa,  1550"  (Hirth,  Formenschatz). 


SPFLTZ,  styles  of  Ornament.  25 


386 


SPANISH  RENAISSANCE  ORNAMENT. 


Plate  234. 


SPANISH  RENAISSANCE  ORNAMENT. 


387 


Plate  234. 

(After  Albert  Haupt,  Die  Baukunst  der  Renaissance  in  Portugal.) 

Fig.  1.    Silver  filigree  cross  from  the  Treasury  in  Belem. 

2,  and  4.    Balustrades  from  the  chapel  of  the  new  Cathedral  in  Cimbra. 

3.  Window  column  in  transept  of  the  cloister  dos  Jeronymos,  Belem. 

5.  Tile  wainscotting  in  the  chapel  of  St  Roque,  Lisbon. 

6.  Mosaic  in  a  chapel  in  Penha  Verde  near  Cintra. 

7.  Court-yard  in  the  Benedictine  cloister  in  Porto. 

8.  Wall  tiles  from  the  church   of  St.  Maria  da   monte   in   Penha  Verde  near 
Cintra. 


Application  Embroidery,  16th  century 
(Dupont-Auberville). 


2S" 


388 


GERMAN  RENAISSANCE  ORNAMENT. 


The  Renaissance  in  Germany,  Austria  and  Switzerland. 


(Dolmetsch.) 


[efore  the  new  style  of  art,  which  was  introduced  from  France  into 
Germany,  became  firmly  established  in  the  latter  country,  a  long 
period  of  time  was  necessary.  Although  at  the  period  the  new 
humanist  movement  carried  on  by  Johannes  Reuchlin,  Erasmus  of 
Rotterdam,  and  Ulrich  von  Hutten,  was  already  in  full  activity 
in  Germany,  still  it  was  more  in  a  theological  and  philosophic 
rather  than  in  an  artistic  direction.  The  foundation  for  the  Renais- 
sance of  Art  was  far  less  favourable  in  Germany  than  in  France. 
German  architects  were  so  tied  to  Gothic  work  that  they  strongly 
resisted  the  introduction  of  the  Renaissance.  The  painters,  however, 
Albrecht  Diirer  being  the  foremost  amongst  them  were  more  amen- 
able. Even  though  in  his  works  one  may  notice  the  tendency 
not  entirely  to  disregard  the  Gothic,  still,  on  the  other  hand,  his 
fine  constructive  sense  and  understanding  for  the  new  Italian  Forms  can  also  be  clearly  dis- 
cernible. The  first  who  really  gave  themselves  up  entirely  to  the  Renaissance  were  Hans 
Burkmair  and  Hans  Holbein.  The  engravings  produced  by  these  artists  were  circulated 
throughout  the  country,  and  even  though  they  did  not  understand  them,  were  the  source 
from  which  builders  and  artistic  handworkers  took  the  elements  of  the  new  art.  This  fact 
explains  the  bizarre  character  which  distinguished  the  Renaissance  in  Germany  from  that  of 
Italy.  It  was  only  when  an  intimate  connection  was  established  between  the  German  and 
Italian  artists,  when  Italian  artists  came  into  Germany,  and  Italian  works  on  architecture  became 
known  and  read  in  that  country,  that  the  German  artists  first  began  to  really  understand 
what  the  Renaissance  was.  The  Thirty  Years  War,  however,  which  broke  out  at  this  time, 
put  an  end  to  all  artistic  activity  throughout  the  greater  part  of  Germany.  Besides  this. 
Protestantism,  which  also  appeared,  was  an  enemy  to  all  kinds  of  decoration,  and  prevented 
the  use  of  the  Renaissance  for  monumental  Ecclesiastical  Buildings.  The  people  therefore  con- 
fined their  work  to  the  building  of  Castles  and  Town  Halls.  For  this  reason,  the  German 
Renaissance  lacks  monumental  force  of  form,  but  shows  instead  of  that,  a  picturesque 
grouping  and  decorative  talent. 

The  most  celebrated  Masters  of  the  German  Renaissance  were,  Albrecht  Diirer,  Burkmair, 
the  two  Holbeins,  Peter  Fischer  and  his  son,  Manuel  Deutsch,  Joseph  Graf,  and  Peter  FlOtner. 
The  German  Renaissance  did  not  succeed  in  developing  into  a  homogenous  Style  or 
characteristic  System,  a  circumstance  due  to  ruling  loeal  conditions  which  rendered  it 
impossible  to  do  what  was  done  in  France,  namely  to  unify  the  prevailing  style  of  Archi- 
tecture peculiar  to  the  Middle  Ages  with  the  Antique  forms.  In  all  the  numerous  centres 
of  art  in  Germany,  the  new  Style  developed  in  a  different  manner,  according  as  it  was 
influenced  from  France,  Italy,  or  the  Netherlands. 


Plate  235. 


GERMAN  RENAISSANCE  ORNAMENT. 


389 


390  GERMAN  RENAISSANCE  ORNAMENT. 

The  German  Renaissance  possesses  no  monumental  aspect  its  chief  power  lying  in  the 
artistic  grouping  and  ornamental  treatment  of  details.  It  was  only  in  a  later  period  that  a 
correct  architectural  tendency  became  apparent,  which,  however,  was  brought  to  a  sudden 
termination  by  the  Thirty  Years  War. 

The  German  Renaissance  dates  its  commencement  from  the  year  1525,  and  it  lasted  up 
to  1620,  the  oldest  German  Renaissance  Monument,  however,  the  Entrance  Gateway  of  the 
Castle  of  Mahrisch-Triibau,  dates  from  the  year  1492,  as  do  also  some  other  Doorways. 

In  Germany  as  in  Italy,  three  periods  are  distinguished,  the  Early,  High,  and  Later 
Renaissance,  or  Rococo,  the  first  dating  from  1525  to  1570,  and  the  second  down  to  1680. 


'ig- 

1. 

Ji 

2. 

)) 

3. 

it 

4. 

>J 

5. 

ft 

6. 

7. 

Plate  235. 

Column  from  Ensisheim  (Lambert  &  Stahl,  Motive  der  deutschen  Architektur). 

Hermes  from  the  Armoury  in  Brunswick  (Lambert  &  Stahl). 

Wooden  column  from  the  Town  Hall  at  Munden  (Ortwein).    The  construction 

of  this  building  was  begun  in  1603. 

Cartouche  from  the  pulpit  in  St.  George's  church,  Wismar  (Ortwein). 

Fountain  column  from  Berne  (Lambert  &  Stahl). 

Capital  from  the  fountain  in  the  market-place  at  Berne  (Lambert  &  Stahl). 

Portal  from  the  Royal  Mews  in  Berlin.    In  the  year  1665,  the  Royal  Mews 

was  burned,  but  afterwards  rebuilt  by  Kurfiirst  Friedrich  Wilhelm,  who  purchased 

the  house  of  Herr  von  Ribbeck  which  lay  next  to  the  Mews,   and  whose  facade 

remained  uninjured.    The  doorway  here  given  is  found  in  this  facade  (Ortwein.) 

8.  Wooden  pillar  from  church  in  Cologne  (Ortwein). 

9.  Plinth  from  the  arcade  of  the   church  Buildings    in   the  Castle   at  Baden- 
Baden  (Ortwein). 


Fig. 

1. 

M 

2. 

»> 

3. 

>> 

4. 

it 

5. 

it 

6. 

If 

7. 

>t 

8. 

Plate  236. 

Window  from  transept  in  the  cathedral  at  Ratisbon  (Lambert  &  Stahl). 

From  the  Organ  Gallery  in  St.  George's  church,  Wismar  (Ortwein). 

Coat  of  Arms  from  the  monument  to  Duke  Johann  in  Oels  (Ortwein). 

Inner    gateway    of    the    castle    at    Wismar,    built    in    the    years    1553—1555 

(Lambert  &  Stahl). 

Gable  of  a  house  in  Heilbronn  (Lambert  &  Stahl). 

From  an  epitaph  in  St.  George's  church,  Wismar  (Ortwein). 

Font  in  the  Parish  church,  GQstrow  (Ortwein). 

Balustrade  of  the  pulpit  in  the  Jakob  church,  Goslar  (Ortwein). 


Plate  237. 

Fig.  1,  and  2.    Console  brackets  from  the  ceiling  of  the  Prince's  Hall  in  the  Town 
Hall  at  Augsburg  (Leybold,  Rathaus  von  Augsburg). 
2.    Wall-paper  in  the  Town  Hall  at  Danzig  (Ortwein). 
„     4.    From  the  staircase  of  the  Town  Hall  at  Bremen  (Ortwein). 
„     5.     Finial  from  the  Town  Hall  at  Bremen  (Ortwein). 
„     6.    Portion  of  wood  ceiling  from  the  Town  Hall  at  GOrlitz  (Ortwein). 


Plate  236. 


GERMAN  RENAISSANCE  ORNAMENT. 


391 


392 


GERMAN  RENAISSANCE  ORNAMENT. 


Plate  237. 


Plate  238. 


GERMAN  "RENAISSANCE  ORNAMENT. 


393 


394  GERMAN  RENAISSANCE  ORNAMENT. 

Plate  238. 

(After  Ortwein,  Deutsche  Renaissance.) 

Fig.  1,  and  2.    Chairs  in  the  Historical  Museum,  Dresden. 

„     3.    Cabinet  with  inlaid  work.  This  cabinet,  which  is  in  the  Wallraf-Richartz-Museum, 
dates  from  the  year  1599,  and  is  made  od  seven  woods,  oak,  sycamore,  beech,  and 
others  each  stained  of  a  different  colour. 
Consol  from  the  Kaiser  House  in  Hildesheim. 

Ornament  from  wall-panelling  in  the  Civil  Service  Office  In  Luneburg. 
Panel  from  a  stall  in  the  Ludgeri  church  at  Munster. 
Door  of  the  tabernacle  in  the  church  of  St.  Gereon,  Cologne. 
Panel  from  a  screen  in  Hildesheim. 
Cake  mould  in  Luneburg  Museum. 


4. 

5, 

6. 

7, 

8, 

9, 

Plate  239. 

Fig.  1.    Stove  in  the  Prince's  Hall  of  the  Town  Hall  at  Augsburg  (Leybold). 

„     2.    Stone  jug  from  Cologne.    The  ornamentation  is  done  in  blue  glaze  (Ortwein). 

„  3,  and  6.  Terra-cottas  from  the  Castle  in  Schwerin  (Ortwein).  Originally  inten- 
ded for  the  Furstenhof  in  Wismar. 

„  4.  Stone  jug  in  the  Museum  at  Munich,  from  the  beginning  of  the  IZ'h  century 
(Hirth). 

„     5.    Tin  jug,  17th  century.    In  the  Museum  at  Lubeck  (Hirth). 

„     7.    Chimneypiece  in  the  Town  Hall  at  Miinden  (Ortwein). 


Plate  240. 

Fig.  1.  Mural  painting  in  the  Golden  Hall  of  the  Town  Hall  at  Augsburg  (Leybold). 
The  Town  Hall  at  Augsburg  was  begun  in  the  year  1615,  the  architect  being  the 
Municipal  Architect  Elias  Hell  (1573—1646).  It  was  completed,  all  except  the  interior 
fittings,  in  1620.  These  latter  were,  however,  not  carried  out  in  accordance  with 
Holi's  designs,  but  from  designs  by  different  masters,  the  most  renowned  of  whom 
were  the  painter  Peter  de  Witt,  called  the  Candid,  the  Jesuit  Matthaus  Rader,  and 
the  Augsburg  painter  Matthias  Kager. 

„  2.  Painting  on  ceiling  in  the  Knights  Hall  of  Trausnitz  Castle  near  Landshut 
(Ortwein).  These  paintings  date  from  tlie  years  1578—1580,  the  building  itself  being 
originally  constructed  in  Gothic,  and  later  on   changed  to  the  Renaissance  style. 

„  3.  Glass  painting  from  the  cupola  of  the  chapel  in  the  Royal  Residence  in 
Munich. 

„     4.     Book  binding,  17th  century,  gilt  and  painted.    In  the  Nuremberg  Museum  (Hirth). 

„     5.    Pilaster  panel  from  Wertheim  Castle  (Ortwein). 


Plate  239. 


GERMAN  RENAISSANCE  ORNAMENT. 


395 


396 


GERMAN  RENAISSANCE  ORNAMENT. 


Plate  240. 


Plate  241. 


GERMAN  RENAISSANCE  ORNAMENT. 


397 


U\AAAAAAAAA/U\AAAAAAA;\.AMAAAAAaAA/\rAAn 


398  GERMAN  RENAISSANCE  ORNAMENT. 

Plate  241. 

Fig.  1,  and  2.    Bracket   candle -sticks  from   the   Upper   Hall    of   the   Town    Hall   at 

Augsburg  (Leybold). 
„     3.     Silver  spoon  in  the  Luneburg  Museum  (Ortwein). 
„      4.     Key  in  the  Munich  Museum  (Hirtli). 
„     5,     Figure  of  a  woman  holding  a  candlestick  in  the  Stertzing  Town  Hall,  Tyrol. 

The  figure,  which  represents  Lucretia  dying,  is  carved  in  wood,   and  tastefully 

painted  and  gilt.    It  dates  from  the  1st  half  of  the  16th  century  (Hirth). 
„     6.    Chandelier  in  the  church  of  St.  Mary  at  Zwickau  (Ortwein). 
„     7.     Iron  cloth -shearing  comb  with   etched   design  (Hirth).    Belongs  to  the  Early 

Renaissance. 


Plate  242. 

Fig.  1.    Hinge  on  door  of  the  Town  Hall  at  Augsburg  (Leybold). 
„     2.    Lock   on  the   door   of  the   Prince's   Hall   of  the   Town    Hall   at  Augsburg 

(Leybold). 
„     3.    Door   hirge   from   the   principal   doorway   of  the  Town  Hall  at  Augsburg 

(Leybold). 
„     4.    From   the   lock   of  a  chest  in  the   Munich   Museum,   iron  plate  carved  and 

engraved  (Hirth). 
„     5.    Finial  from  the  Castle  at  Munden  (Ortwein). 

„     6,  and  7.    Wrought   iron  railings,    16th  century.     In  the  Salzburg  Museum  (Hirth). 
,,     8.    Railing  in  the  tower  staircase,  Castle  Yard,  Dresden  (Ortwein). 
„     9.    Door  knocker  from  Rostock  (Ortwein). 


Plate  243. 

(After  Hirth,  Formenschatz.) 

Fig.  1.     Hunting  spear,  16th  century.    In  the  Imperial  Collection  in  Vienna. 

„  2,  and  6.  Ornament  of  a  halbard,  etched  in  iron,  from  the  middle  of  the  16th  cen- 
tury.   In  the  Munich  Museum. 

„     3.    Ornament  by  Peter  Flotner  (1549).    In  the  Copper  Engraving  Cabinet,  Munich. 

,,  4.  Black  and  white  drawing  by  Albrecht  Dilrer.  Shows  a  cavalier  an  horse  back 
in  the  triumphal  procession  of  Emperor  Maximilian.  The  original  is  in  the  Am- 
brose Collection  in  Vienna. 

„     5.    Bridle-bit  from  Scutters  "Bit  Book",  Augsburg  1584. 


Plate  244. 

(After  Hirth,  Formenschatz). 

Fig.  1.    Small  book-cover  of  engraved  silver  plate  with  velvet  ground. 
„     2,  6,  and  9.    Sketches  for  gold   ornaments.     Black  and  white  drawings  in  water- 
colour  from  Hans  Holbein  in  the  British  Museum. 


Plate  242. 


GERMAN  RENAISSANCE  ORNAMENT. 


399 


400 


GERMAN  RENAISSANCE  ORNAMENT. 


Plate  243. 


Plate  244. 


GERMAN  RENAISSANCE  ORNAMENT. 


401 


SPELTZ,  Styles  of  Ornament. 


26 


402 


GERMAN  RENAISSANCE  ORNAMENT. 


Plate  245. 


Plate  246. 


GERMAN  RENAISSANCE  ORNAMENT. 


403 


26" 


404  GERMAN  RENAISSANCE  ORNAMENT. 

Fig.  3.     Gentlewoman  of  the  16th  century,  after  a  drawing  by  Hans  Holbein. 
,,     4.    Gold  chain  with  enamel-work.    Augsburg  work  of  the  16th  centuiy. 

5.    Jewel  of  enamelled  gold,  17th  century. 
„     7,  and  8.    Samples  of  work  of  the  goldsmith  Jacob  von  der  Heyden,  from  the 
year  1620.    Taken  from  the  book  "Suite  de  dessins  d'ornements  pour  bijoutiers 
meilleurs  et  emailleurs  sur  fond  noir",  published  in  Strasburg. 
„    10,  and  11.    Samples  of  lace-work  from  the  book  "Neues  Modellbuch"  by  Johann 

Sibmacher,  Copper  Engraver,  who  died  in  Nuremberg  in  the  year  1611. 
„    12.     Ornament  pendant  by  Paul  Birckenhultz. 


Plate  245. 

(After  Hirth,  Formenschatz.) 
Fig.   1.     Bronze  clock  with  engraved  and  chased  ornamentation,  made  by  Benedict 

Fiirstenf elder  at  about  the  middle  of  the  17th  century. 
„     2.     Hock  glass,  17th  century.    In  the  National  Museum,  Munich. 
„     3.    Wedding  goblet  of  gilt  silver,  16th  century.   The  large  goblet  is  formed  by  the 

hooped  farthingale,  the  small  one  is  moveable  round  its  own  axis.    The  bridegroom 

was  obliged  to  drink  from  the  large  goblet  and  empty  it  without  spilling  any  out 

of  the  small  one.    The  bride  drank  from  the  small  goblet. 
„     4.    Silver  spoon  and  fork,  16th  century.    In  possession  of  the  owner  of  the  Possen 

Estate,  Kurland. 
„     5.    Chalice  by  Wenzel  Janitzer. 

„     6.    Silver  knives  and  forks  from  Nuremberg  (L'art  pour  tous). 
,,     7.    Silver  drinking-jug,  strongly  gilt,  Nuremburg  work  from  the  16th  or  beginning  of 

17th  centurj'. 


Plate  246. 

(After  Hirth,  Formenschatz.) 
Fig.   1.    Carpet  pattern,  from  an  oil  painting  by  George  Pencz  in  the  Royal  Museum,  Berlin. 

From  the  beginning  of  the  16th  century.    The  colours,  exclusive  of  the  black  outlines, 

are  a  dark  and  a  light  moss  green. 
„     2.     Pattern   of   a   gold  brocade,  from  a  picture  by  Roger  van  den  Weyden  "Das 

Christkind  erscheint  den  drei  heiligen  Konigen"  —  The  Christ  Child  appearing  to 

the  three  Kings  —  in  the  Royal  Museum  at  Berlin. 
„     3.    Gold  brocade  on  black  velvet,  from  a  picture  of  the  Cologne  School,  in  the 

Royal  Picture  Gallery,  Municli. 
,,     4.     Green  velvet  on  a  green  silk  ground,  16th  century.    In  the  National  Museum, 

Munich. 
„     5.     Black  velvet  on  gold  brocade,  from  a  picture  by  Dirk  Bouts  in  the  Royal  Picture 

Gallery  Munich. 
„     6.     Gold  embroidery  on  black  velvet,  from  the  mantle  worn  by  the  Pfalzgraf  Wil- 

lielm  beim  Rlicyn  on  his  marriage  with  Renata  von  Lothringen,  on  the  22"^  February 

1568.    In  the  National  Museum,  Munich. 


Plate  247. 


GERMAN  RENAISSANCE  ORNAMENT. 


405 


rirtiipionunrmitflir 
ptfltfs.rtnitiJiliin 


406 


GERMAN  RENAISSANCE  ORNAMENT. 


Plate  248. 


Plate  249. 


GERMAN  RENAISSANCE  ORNAMENT. 


407 


408  GERMAN  RENAISSANCE  ORNAMENT. 

Plate  247. 

(After  Hirth,  Formenschatz.) 

Fig.   1,  and  3.     Initials  by  Lucas  Kranach. 

„  2,  4,  and  5.  Letters  from  Caligraphic  Work  of  Paulo  Franken,  writing-master 
and  arithmetician  in  Memmingen.     From  the  year  1601. 

„     6.    The  Hohenzollern  Arms  by  Jost  Amman. 

„  7.  Ornaments  from  the  work  Imperatorum  Romanorum  Imagines,  published  in 
Zurich  in  1559  by  Gessner,  and  drawn  in  all  probability  by  Christoph  Schweitzer. 

„  8,9,  11,  and  12.  Written  text  from  the  album  of  Wolfgang  Fugger,  Nurem- 
berg, 1553. 

„  10.  Letters  for  embroidery,  from  the  book:  "Ein  new  getruckt  model  Buchli  auf 
aussuchen  und  bartten  wicken",  1529. 

„    13.     Initials  of  Lucas  Kilian,  engraver  at  Augsburg. 


Plate  248. 

(After  Wilhelm  Weimar,  Monumentalschriften.) 

Fig.   1.     Engraved  Solnhofer  stone  slab,  of  the  year  1636,  formerly  in  the  "Getreide- 
kasten  zum  leeren  Beutel",  Ratisbon,  at  present  in  the  Municipal  Museum  in  the 
same  city. 
„     2.    Engraved  Solnhofer  stone  slab,  from  the  year  1592.    In  the  Collection  of  the 
Historical  Society  of  the  Oberpfalz  in  Ratisbon. 


Swiss  Renaissance  Wood  Buildings. 

Plate  249. 

(After  E.  Gladbach,  Holzbauten  der  Schweiz.) 

Fig.  1.  Leaf-table  from  Filisur  in  the  Engadine,  1672. 

„  2.  Door  of  the  hospital  in  Frutigen,  Canton  Berne. 

„  3.  Wall  panelling  in  tlie  drawing-room  of  the  Baron  von  Reding-Biberegg  in  Schwyz. 

„  4.  View  of  the  granary  in  Langnau,  Canton  Berne,  dated  1519. 


Plate  250. 

(After  E.  Gladbach,  Holzbauten  der  Schweiz.) 

Fig.   1.     Panelled  ceiling  of  tlie  drawing-room  of  the  Baron  von  Reding-Biberegg,  Schwyz. 
(See  also  plate  249,  Fig.  3.) 
„      2.     Detail  from  the  same  room. 
„     3,  5,  and  7.    Carving  from  Glion  in  Canton  Waadt. 
„     4,  and  6.     Back  of  a  child's  chair  in  Riiti,  Meiringen. 
„     8.    Inn  table  in  Canton  Schwyz. 


Plate  250. 


GERMAN  RENAISSANNE  ORNAMENT. 


409 


410 


GERMAN  RENAISSANCE  ORNAMENT. 


Fig.     9.    Corbel  strut  from  Langnau,  Canton  Berne. 

10.  Old  House  at  Langnau. 

11.  and  15.     Sawn-out  work  from  same. 

12.  Back  of  chair  from  Canton  Berne. 

13.  Table  from  Rothenthums  in  Schwyz. 

14.  Stool  in  Schwyz. 


Wood  carving  from  the  facade  of  Hutte's  House  in  HOxtcr 

(Ortwein). 


Plate  251. 


GERMAN  RENAISSANCE  ORNAMENT. 


411 


412 


GERMAN  RENAISSANCE  ORNAMENT. 


Renaissance  Ornament  in  Hungary. 

Plate  251. 

(After  Dr.  Bela  Czobor  und  Emmerich  von  Szaley,  die  historischen  Denkmaier  Ungarns.) 

Fig.   1.     Bishop's  mitre  of  red  pearl-worked  embroidery,   15'^  century.    In  the  Trea- 
sury of  the  Cathedral  Church,  Gyor. 

2.  Saddle  of  red  velvet  with  gold  embroidery,  17th  century. 

3.  State  armour  of  Stefan  B^thory  (1533—1586).    In  the  Art  Historical  Museum 
in  Vienna. 

4.  Cross   worn   by   the    Cardinal    Archbishop    Peter    Pdzmany    of   Esztergom, 
16th  century. 

5.  Cavalry  broadsword,  16th  century. 

6.  Richly  ornamented  partisan,  16th  century. 

7.  Richly  ornamented  regal  sword,  16th  century.   In  the  Royal  Collection  of  Arms, 
Vienna. 

8.  Richly  ornamented  sword  from  the  Siebenbflrger  Museum. 

9.  Tiara  from  Krusedole  cloister,  15th  century. 


Agraffe  of  gold  and  enamel,  17th  century. 
(L'art  pour  tous.) 


Plate  252. 


DUTCH  RENAISSANCE  ORNAMENT. 


413 


m-im§M!mm 


^ij^^^MIMM 


414 


DUTCH  RENAISSANCE  ORNAMENT. 


Renaissance  Ornament  in  the  Netherlands. 


n  Belgium,  Renaissance  Ornament  did  not  develop  to  the  same  standard  as  Gothic 
Ornament.  The  earliest  work  of  the  Renaissance  in  Belgium  is  the  palace  of 
Margarete  of  Parma  in  Malines,  built  about  the  year  1520  by  the  French 
Architect  Beauregard.  The  most  renowned  is,  however,  the  Rathhaus,  or  Town 
Hall  of  Antwerp,  built  in  the  years  1561 — 1565  by  Cornelius  de  Vriendt  or 
Floris,  a  pupil  of  Giovanni  da  Bologna.  The  cities  of  Ghent,  Ypres,  Furnes, 
and  others,  possess  also  remarkable  specimens  of  Town  Halls  in  this  style. 
The  Renaissance  appeared  in  Holland  later  than  in  Belgium,  the  most  impor- 
tant buildings  in  Holland  being  also  the  Town  Halls,  that  of  the  Hague 
(1564—1575),  and  Leyden  (1597—1604).  The  most  celebrated  architects  of 
this  period  were  Hendrick  de  Kayzer  (1567 — 1621),  and  his  colleague,  Corne- 
lius Dankerts  (1561  —  1634),  who  succeeded  in  Holland  in  directing  Art  along 
Italian  lines,  while  in  Belgium  the  Renaissance  degenerated  much  sooner. 
There  developed,  therefore,  in  Holland,  a  specific,  Dutch  Style  which  spread 
also  through  North  Germany  and  Scandinavia. 

Door  Handle         jj^  consequence  of  the  epoch-making  introduction  of  the  modern  system 

from  unent  ^j  oil-painting  by  the  brothers  Hubert  and  Jean  van  Eyck,  which  rendered  it 
(twerbecK).  pQggj^ig  ^Q  gjyg  ^^ue  reproductions  of  nature,  so  absolutely  necessary  for  the 

development  of  Realism,  painting  developed  in  a  most  magnificent  manner  in  the  Netherlands. 

Having  its  beginnings  in  Flanders  it  grew  to  be  the  ruling  style  and  fashion. 


Plate  252. 


(After  F.  Ewerbeck  und  Neumeister,  die  Renaissance  in  Belgien  und  Holland.) 


Fig. 


1. 

2 

3. 
4. 
5. 
6. 


7. 


Glass  painting  of  the  year  1549.    In  the  Museum  at  Middelburg. 

Stone  arm-chair  from  the  year  1609.    In  the  Museum  at  Bruges,  originally  in 

the  church  at  Damme  near  Briiges. 

Console  from  a  fire-place  in  the  Town  Hall  at  Venlo. 

Column  of  the  pulpit  in  the  cathedral  at  Hertogenbosch   (Bois-leduc). 

Iron  tee  on  a  house  in  Zalt-Bommel. 

Southern   ornamental   gable  of  the  abattoir  in  Haarlem.    This   is  the   most 

valuable  monument  of  Renaissance  Architecture  in  the  Netherlands.  It  was  completed 

1603,  but  the  name  of  the  architect  is  unknown. 

Capital  from  a  stall  in  the  large  church  at  Dortrecht. 


Plate  253. 


Fig.  1.  Shaft  of  column  after  Vries,  16'^  century  (Libonis). 

„  2.  Cartouche  from  the  atlas  of  Abraham  Ortelius,  Antwerp  1583  (Hirth,  Formenschatz). 

„  3.  Brflges  guipure  lace  in  the  Grunthuze  Museum. 

„  4.  Cartouche  from  the  atlas  of  Waghenaer,  Amsterdam  1583  (Hirth). 


Plate  253. 


DUTCH  RENAISSANCE  ORNAMENT. 


415 


416 


DUTCH  RENAISSANCE  ORNAMENT. 


Plate  254. 


Plate  255. 


DUTCH  RENAISSANCE  ORNAMENT. 


417 


•^^^w^ 

"s^ 


^. 


SPELTZ,   Styles  of    Ornament. 


27 


418 


DUTCH  RENAISSANCE  ORNAMENT. 


Fig.  5.    Brussels  lace.  Point  de  Bruxelles,  "Drochel",  foundation.  From  the  Dutuit  Collection. 
„     6.     Oak  cabinet,  16th  century.    In  the  Cluny  Museum  (Bajot). 
„     7.    Table,  17th  century.    In  the  Cluny  Museum  (Bajot). 


Plate  254. 

(After  Ewerbeck  and  Neumeister,  Die  Renaissance  in  Belglen  und  Holland.) 

Fig.  1.  Balcony  of  the  Town  Hall  at  Fumes,  17th  century. 

„  2.  Wrought-iron  door  furniture,  in  the  Haller  Tor  Museum,  Brussels. 

,,  3.  Wrought-iron  fire-dog,  etc.,  in  the  Haller  Tor  Museum,  Brussels. 

..  4.  Stalls  in  the  Stadtor  of  Dortrecht. 


Plate  255. 

(After  Ewerbeck  and  Neumeister,  Die  Renaissance  in  Belgien  und  Holland.) 

Fig.   1.  Wooden  table  in  the  Town  Hall  at  Oudenarde  (L'art  pour  tous). 

2,  3,  and  5.    Glazed  wall  tiles  of  Delft. 

4.  Gold  medallion  (L'art  pour  tous). 

6.  Gold  pendant  ornament  (L'art  pour  tous). 

7.  Delft  plate  (L'art  pour  tous). 

8.  Brass  fire  dog  (L'art  pour  tous). 


'^!l:f■!^"■°i■^![j■i'l''f!.'lJ!J^l^^ 


'WMimimSmMm^ 


Table  from  the  Salvator  church  in  Brflges  (Ewerbeck). 


NORTHERN  RENAISSANCE  ORNAMENT. 


419 


Ornament  of  the  Northern  Renaissance. 


the  Scandinavian  Lands  the  Renaissance  style  of  art  did  not  become 
properly  prevalent  until  the  16^^  century,  being  introduced  into  Denmark 
from  the  Netherlands,  and  into  Sweden  from  the  Hansa  Cities  which 
were  also,  in  a  like  manner,  subject  to  Netherland  influences.  It  did 
not,  however,  develop  in  any  of  these  countries  into  a  characteristic 
style.  The  Early  Renaissance  in  Sweden  extends  up  to  the  year 
1630,  and  the  Later  Renaissance,  which  in  consequence  of  the  deeper 
study  given  by  the  artists,  approached  more  the  Italian  forms  of  Art, 
from  1630  to  1720. 

The  Renaissance  did  not  begin  to  make  itself  felt  in  Norway 
until  the  beginning  of  the  17th  century.  Considering  the  lively  commer- 
cial intercourse  with  Holland  which  obtained  at  this  period,  it  is  easy 
to  understand  that  Norwegian  Woodwork  Architecture,  besides  being 
subject  to  Swedish,  German,  and  Danish  influences,  was  also  especially  influenced  by 
Dutch  Renaissance  motifs,  motifs  which  the  skilled  Norwegian  peasants  knew  well  how 
to  handle  independently,  and  to  transform,  by  grafting  them  on  the  ancient  native  forms 
peculiar  to  the  country. 


Book  Ornament 

(Dahlerup). 


Fig. 


Fig- 


Plate  256. 

(After  Dr.  John  BOttiger,  Hedvig  Eleonoras  Drottingholm.) 

1.  Door. 

2.  Ceiling  in  drawing-room. 

3.  and  4.    Frieze  of  Chamber  of  state. 

5.  Chimney-piece  in  the  lower  Retainer's  Hall. 

6.  Ceiling  in  the  South  Tower. 

7.  Pilaster  from  the  upper  Retainer's  Hall. 


Plate  257. 

1 — 7.    Norwegian  wood  ornaments  of  the  I7th  century  (Dietrichson  und  Munthe 
Die  Holzbaukunst  Norwegens). 

8.  Bronze  chandelier  with  console  of  the  year  1668. 

9.  Fire-dog  from  Noergaard,   Denmark,  of  the  year  1588  (Dahlerup,  Holm  und 
Stork,  Tegninger  af  asldre  nordisk  Architektur). 


27< 


420 


NORTHERN  RENAISSANCE  ORNAMENT. 


Plate  256. 


^  mi^imme!i/fy):mmm-JimM 


'^yjjj-'j's.y-j'j-yj'i-j'j-j'j^yyj'^j'j-i.^^^j-j'}: 


Plate  257. 


NORTHERN  RENAISSANCE  ORNAMENT. 


421 


422 


SLAVONIC  RENAISSANCE  ORNAMENT. 


Slavonic  Renaissance  Ornament. 


Baptismal  Font  in 
the  Family  Chapel 
of  the  Firlej  near 
the  Parish  church 
in  Bejsce,  1600 
(Odrzywolsky). 


NTO  Russia,  and  also  into  Poland,  the  Renaissance  was  introduced  by 


Italian  artists  who  had  been  invited  into  both  countries.  These 
artists,  however,  were  unable  to  resist  subordinating  themselves  to 
the  Oriental  influences  already  prevalent  especially  in  Russia,  the 
result  being  the  development  of  a  native,  national  Style,  whose  prin- 
cipal characteristics  were  the  Imperial  Roof  and  the  Ogee  Arch.  The 
wood  Architecture  was  also  brought  by  the  Renaissance  to  a  high 
state  of  perfection,  to  which  result  Scandinavian  and  Lower  Saxon 
influences  very  probably  also  contributed. 

In  Polish  Art,  where  local  influences  were  not  so  powerful,  the 
evidences  of  Italian  Renaissance  influences  are  far  more  apparent 
than  in  Russia. 


Renaissance  Ornament  in  Poland. 


Plate  258. 

(After  Slawomir  Odrzywolsky,  Die  Renaissance  in  Polen.) 

Fig.   1.     Gold  reliquary,  16ih  century,  in  the  Treasury  of  Cracow  cathedral 

2.    Silver  candle-stick  from  the  Siglsmund  chapel  in  Cracow  cathedral,   dates 
from  the  year  1536. 
„     3.    Choir  stalls  in   the  King  Stefan  Bathory  chapel,  Cracow  cathedral.     In  all 
probability  the  work  of  Santi  Gucci. 
4.    Dutch-tile  stove  in  the  Castle  of  Podhorce.   Contains  the  arms  of  the  Rzewuski 
Krzwada  Family,  very  probably  Danzig  work. 


Plate  258. 


SLAVONIC  RENAISSANCE  ORNAMENT. 


423 


424 


SLAVONIC  RENAISSANCE  ORNAMENT. 


Fig.  5,  and  6.  Turret  crest  over  the  Sigismund  chapel,  Cracow  cathedral.  The  angels 
and  the  crown  are  cast  in  copper,  the  cross  and  ball  of  wrought  copper,  all  are 
richly  gilt. 


Window  of  the  Royal  Castle  in  Cracow  (Odrzywolsky). 


Plate  259. 


SLAVONIC  RENAISSANCE  ORNAMENT. 


425 


3s^^9P?r#im'§!?s^s^ 


426 


SLAVONIC  RENAISSANCE  ORNAMENT. 


Plate  260. 


wmmA 


if'.'iii-'M 


SLAVONIC  RENAISSANCE  ORNAMENT. 


427 


Renaissance  Ornament  in  Russia. 

Plate  259. 

Fig.  1,  and  2.    From  a  Croatian    peasant-house    in   Progar   near   Semlin,   Symrina 

(Uhde,  Die  Konstruktionen  und  die  Kunstformen  der  Architektur). 
„     3.    Gable  of  a  peasant's  house  in  Fataroff,  Russia  (Uhdej. 
„     4.    Window    from    the    south    side    of    the   church   at   Tscherewkowo,   Russia 

(Sonslow,  Ancienne  Architecture  Russe). 
,,     5,  6,  and  10.    Door  wood-carvings,  17tii  century  (Sireitschikoff). 
„     7  to  9.    Table  and  ornaments  from  the  Nicolo  Mocky  church  (Gagarin,  Russische 

Ornamente).  

Plate  260. 

(After  N.  P.  Sireitschikoff  et  D.  K.  Treneff,  Ornements  sur  les  monuments  de  I'ancien  art  Russe.) 

Fig.  1.  Chased  ornament  from  a  chandelier,  17th  century. 

„  2,  3,  and  5.    Enamel  ornaments,  17th  century. 

„  4.  Painting  from  a  holy  picture,  end  of  16th  century. 

„  6.  Painting  from  a  holy  picture,  painted  by  Simon  Ouchanoff  in  1683. 

„  7.  Painting  from  a  holy  picture,  painted  by  Ninite  Pauloff  in  1677. 

„  8.  Decorative  design,  of  the  year  1492. 

„  9.  Silver  mounting  from  a  holy  picture,  end  of  16th  century. 

„  10.  Wood-carving  from  a  door,  16th  century. 


Mitre  of  a  Patriarch,  17  th  century,  in  the  Museum  of  the  Kreml  in  Moscow. 
Shows  marked  Byzantine  influence  (L'art  pour  tous). 


428 


ENGLISH  RENAISSANCE  ORNAMENT. 


Ornament  over  the  window  in  Winchester  School. 

(After  Belcher  and  Macartney.  Later  Renaissance  Architecture  in  England.) 


Renaissance  Ornament  in  England. 


Initial,  17th  century 
(Gotch). 


s  the  Gothic  style  in  England  retained  its  vitality  much  latei 
than  in  other  countries,  and  in  its  last  phase  known  as  the 
Tudor  Style,  had  already  affected  in  Domestic  Architecture 
the  principal  changes  in  plan  and  design  which  transformed 
the  castle  into  the  country  mansion,  the  transitional  period 
lasted  for  a  much  longer  period.  The  first  attempt  to  open 
the  way  for  the  introduction  of  the  Renaissance  in  England 
was  made  by  the  Italian  Pietro  Torrigiano  with  the  erection 
in  the  year  1519  of  the  beautiful  monument  to  Henry  VII. 
and  his  wife,  and  that  to  Margaret  of  Richmond,  both  in 
Westminster  Abbey.  The  employment  of  the  Renaissance 
in  England  was  however  for  a  long  time  confined  to  the  enrichment  of  the  principal  entrance 
doorways  of  mansions.  The  artists  Toto  dell'  Nunziata,  Theodore  Haveus  and  John  of  Padua 
also  helped  in  bringing  the  new  style  into  England. 

The  real,  characteristic  English  Renaissance  did  not  begin  to  develop  itself  until  the 
reign  of  Queen  Elizabeth  (1558 — 1603)  when  it  was  known  under  the  title  of  the  Elizabethan 
Style,  which  was  a  transition  style  from  the  Tudor  or  Late  Gothic  to  the  Renaissance,  similar 
to  the  transition  in  France  of  the  style  of  Francis  I.  from  the  Gothic  to  the  French  Renaissance. 
The  English  style  resembled  the  German  and  French  Early  Renaissance,  in  so  far  as  it  too, 
in  a  similar,  way  confined  itself  more  to  secular  buildings,  castles  and  country  houses,  than 
to  ecclesiastical,  while,  on  the  other  hand,  the  latter  were  of  the  very  greatest  importance 
to  the  Italian  Renaissance.  Even  although  the  development  of  the  Elizabethan  Style  was 
much  influenced  by  Italian  art,  still  it  cannot  be  denied  that  it  possesses  a  genuine,  national 
character  peculiar  to  itself.   As  Queen  Elizabeth  brought  German  and  Flemish  artists  in  the 


Plate  261. 


ENGLISH  RENAISSANCE  ORNAMENT. 


429 


430  ENGLISH  RENAISSANCE  ORNAMENT. 

country  for  the  building  of  the  castles  of  the  period,  it  is  clear  that  German  and  Flemish 
influences  had  also  their  effect  upon  the  English  Style.  The  architect  John  Shute,  and  the 
designer  de  Vries  of  authory  contributed  much  to  the  development  of  the  Elizabethan  Style. 

Under  the  reign  of  Elizabeth's  successor,  James  I.  (1603 — 1625),  the  Renaissance  took 
on  a  still  more  classic  form,  owing  to  the  more  intimate  and  deeper  study  of  classic  architecture, 
to  the  removal  of  all  Gothic  reminiscences,  and  to  the  labours  of  the  architect  John  Thorpe. 

The  English  Renaissance  was  rendered  completely  free  of  all  Gothic  elements  by  the 
two  famous  architects  Inigo  Jones  and  Christopher  Wren,  who  may  be  considered  as  the 
founders  of  the  pure  Italian  Style.  Inigo  Jones  (1572 — 1652)  studied  in  Italy,  especially  in 
Vicenza,  under  the  personal  supervision  of  Palladio,  and  when  be  returned  to  England  after 
a  second  journey  to  Italy  in  the  year  1612  he  succeeded  in  introducing  complete  change  in 
the  architecture,  and  became  the  founder,  in  England  of  the  pure  classical  School  after 
Palladio.  Sir  Christopher  Wren  (1632—1723)  was  professor  of  astronomy  and  mathematics 
in  Oxford,  and,  when  London  was  almost  destroyed  by  fire  in  the  year  1666,  designed  a 
plan  for  its  reconstruction  which  although  it  was  not  carried  out  led  to  his  employment  in 
the  rebuilding  of  London.  In  consequence  of  his  studies  in  Paris,  there  is  more  of  French 
than  Italian  influence  in  Wren's  work.  At  this  period,  when  Vignola  exercised  great  in- 
fluence in  France,  and  Palladio  in  England,  Wren  attempted  to  unite  both  styles.  His  prin- 
cipal work  is  St.  Paul's  cathedral,  London,  which  with  his  numerous  other  works,  is  now 
included  in  the  Later  Renaissance  Style. 


Plate  261. 

Fig.  1.    Detail  of  Tomb  of  Henry  VIL,  Westminster  Abbey  (H.  O.  Cresswell  in  Archi- 
tectural Assoc.  Sketch  Book). 
„     2.     Balustrade  Audley,  End,  Essex  (Richardson). 
3.    Garden  Porch,  Coombe  Abbey,  (Richardson). 
„     4.    Carved  Baluster,  Blickling  Hall,  Norfolk  (Shaw). 

5.    Detail  of  Balustrade,  Audley  End,  Essex  (Richardson). 
„     6.    Ceiling  of  great  chamber  in  an  old  house  formerly  in  Gravel  Lane,  Hounds- 
ditch,  London  (Richardson). 


Plate  262. 

(After  Gotch,  Architecture  of  the  Renaissance  in  England.) 

Fig.   1.  Door  of  Dining-room  in  Gayton  Manor  House,  Northamptonshire. 

2.  Top  of  Bench  end  in  Leeds  church,  erected  in  the  years  1631 — 1633. 
3—5.    Ceiling  Decorations  from  the  Manor  House,  South  Wraxall,  Wiltshire. 

6.  Staircase  Clare  College,  Cambridge,  erected  after  the  year  1635. 

7.  Balustrade  to  terrace,  Claverton. 

8.  Chimney-piece  in  Bolsover  Castle,  Derbyshire,  17*^  century. 

9.  Gable  of  Rushfon  Hall,  Northamptonshire,  from  the  year  1636. 

10.  Balustrade  to  porch.  Cold  Ashton. 

11.  Gatewey  in  Garden  wall,  Stibbington  Hall,  Huntingdonshire,  erected  in  1625. 


Plate  262. 


ENGLISH  RENAISSANCE  ORNAMENT. 


431 


432 


ENGLISH  RENAISSANCE  ORNAMENT. 


Plate  263. 


ENGLISH  RENAISSANCE  ORNAMENT.  433 

Plate  263. 

(After  Gotch,  Architecture  of  the  Renaissance  in  England.) 

Fig.   1.    Panel  from  a  pew  in  Leeds  church. 
„     2.     Part  of  Arcade  of  screen  in  Leeds  church. 
„     3.    Panel  from  a  wood  chimney-piece  in  Burton  Agnes  Hall,  Yorkshire.    Erected 

in  1610. 
„     4.    Carved  wood  string  from  the  Neptune  Inn,  Ipswich,  1620. 

„     5.  Newel  of  Staircase,  Aston  Hall,  Warwickshire. 

„     6.  Wood  work  from  Astbury  church. 

„     7,  and  8.    Balustrade  in  the  Library  of  Merton  College,  Oxford. 


Plate  264. 

Fig.   1—3.    Carved  wood  strings  from  houses  in  Ipswich  (Gotch). 

4.  Arch  at  end  of  terrace  Bramshill  House  (Gotch). 

5.  Pillar  and  vaulting  in  Hall,  Bolsover  Castle,  Derbyshire  (Gotch). 

6.  Wood  panelling  over  a  fire-place  in  Hull,  1550  (The  Builder). 

7.  Door  to  Library  of  St.  John's  College,  Cambridge  (Gotch). 

8.  Boss  to  vaulting  in  Porch  at  Bolsover  Castle,  Derbyshire  (Gotch). 


Plate  265. 

(Gotch,  Architecture  of  the  Renaissance  in  England.) 

Fig.  1.  Roof  of  the  hall,  Wollaton  Hall,  Nottinghamshire. 

„  2.  Base  to  wood  pilaster  South  Wraxhall  Manor-House,  Wiltshire. 

„  3.  Balustrade  from  St.  Catherine's  Court  House,  Somersetshire, 

„  4.  Panel  from  font  cover  in  the  church  of  St.  Mary-the-Iess,  Cambridge. 

„  5.  Pew  front  Lanteglos  church. 

„  6.  Panelling  from  Burton  Agnes  Hall,  Yorkshire. 


Plate  266. 

Fig.  1,  Portion  of  Canopied  Chair,  Convocation  House,  Oxford  (J.  Gillespie  in  Archi- 
tectural Assoc.  Sketch  Book). 

„  2.  Carved  Detail  from  Chimney-piece  in  old  House  formely  in  Lime  Street, 
London  (Spiers  and  Birch). 

„     3.    Carved  baluster  pier,  Claverton,  Somersetshire. 

„     4.    Staircase  at  Dorfold,  Cheshire  (Richardson). 

„     5.    Portion  of  Ceiling,  Sexton's  House,  St.  James's,  Bristol  (Richardson). 


SPELTZ,  styles  of  Ornament.  28 


434 


ENGLISH  RENAISSANCE  ORNAMENT. 


Plate  264. 


Plate  265. 


ENGLISH  RENAISSANCE  ORNAMENT. 


435 


28* 


436 


ENGLISH  RENAISSANCE  ORNAMENT. 


Plate  266. 


Plate  267. 


ENGLISH  RENAISSANCE  ORNAMENT. 


437 


438 


ENGLISH  RENAISSANCE  ORNAMEMT. 


Plate  268. 


ENGLISH  RENAISSANCE  ORNAMENT.  439 

Plate  267. 

Fig.  1.  Detail  of  Tomb,  Westminster  Abbey. 

„  2.  Terminal  to  Gatepier,  Claverton,  Somersetshire  (Richardson). 

„  3.  Balustrade,  with  Vase,  Duke's  House,  Bradford-on-Avon  (Richardson). 

„  4,  Carved  Frame,  Crewe  Hall  (Richardson). 

„  5.  Balustrade  Audley  End,  Essex  (Richardson). 

„  6.  Portion  of  Ceiling  at  Dorford,  Cheshire  (Richardson). 

„  7.  Detail  from  Crewe  Hall  (Richardson). 

„  8.  Detail  from  St.  Lawrence  church,  Kent 


Plate  268. 


Fig.  1.  Toft  plate.    From  the  Bateman  Collection  (JMnnicke). 

„     2.  Fulham  pottery  (Stoneware).    From  the  Reynolds  Collection  (Jannicke). 

„     3.  Drinking-beaker.    From  the  Mayer  Collection  (Jannicke). 

„     4.  Stoneware  jug.    In  the  Geological  Museum,  London. 

„     5.  Bed  of  Oliver  Cromwell,  carved  in  oak  (Bajot,  Encyclopedic  du  meuble). 

„     6.  Red  stoneware  by  Elers.    South  Kensington  Museum  (JMnnicke). 


Plate  269. 

Fig.  1.  Oak  Cabinet  at  Wlngfield  Manor  (Sanders,  Carved  Oak  Woodwork). 

„  2.  Chair  17*^  century  (A.  E.  Chancellor,  Examples  of  Old  Furniture). 

„  3.  Head  of  Oak  cradle,  l?**"  century  (Chancellor). 

„  4.  Armchair  from  Hampton  Court,  17th  century  (Chancellor). 

„  5.  Looking-glass  in  Elizabethan  style  (Chancellor). 

„  6.  Oak  chest,  17th  century  (Sanders). 

„  7.  Table  and  scholar's  seat  from  the  Charterhouse,  17th  century  (Chancellor). 


Plate  270. 

Fig.  1.    From  a  damask  chair-cover  at  Knole  Park,  Kent.    From  the  time  of  James  L 
(Owen  Jones). 
„     2 — 4,  and  13.    Wood  diapers,  from  the  time  of  James  I.  (Owen  Jones). 
„     5,  and  11.    Applique  needlework,  from  the  time  of  James  L  (Owen  Jones). 
„     6.    Portrait  of  Jane  Seymour,  wife  of  Henry  VIII.,  by  Holbein.    In  the  Vienna 
Gallery  (Hirth). 


440 


ENGLISH  RENAISSANCE  ORNAMENT. 


Plate  269. 


Plate  270. 


ENGLISH  RENAISSANCE  ORNAMENT. 


441 


442 


ENGLISH  RENAISSANCE  ORNAMENT. 


Fig.  7,  and  8.    Needlework  tapestry  from  a  tomb  in  Westminster.    From  the  time  of 

Queen  Elizabeth  (Owen  Jones). 
„     9,  and  12.    Diapers  from  Burton  Agnes,  Yorkshire  (Owen  Jones). 
„    10.    Plaster  diaper  from  an  old  house  near  Tottenham.    From  the  time  of  Queen 

Elizabeth  (Owen  Jones). 


Renaissance  Chair  (Bajot). 


LATER  RENAISSANCE  ORNAMENT. 


The  term  Later  Renaissance  is  the  title  given  to  the  second  phase  of  the 
Renaissance  and  is  applied  to  those  buildings  which  were  erected  subsequent  to 
the  attempt  made  by  Serlio,  Vignola,  and  Palladio,  to  formulate  principles  which 
should  govern  the  employment  of  the  Classic  Orders.  In  the  earlier  work  of 
Brunelleschi,  Michelozzo  and  Alberti,  the  architectural  design  was  ruled  more  or 
less  by  an  adherence  to  those  principles  which  would  seem  to  have  guided  the 
Roman  architects,  ornament  was  only  sparingly  introduced,  and  then  only  in  such 
features  as  in  the  capitals  of  columns  and  friezes  which  required  more  decorative 
treatment.  The  tendency,  however,  in  other  work  and  more  especially  in  those 
which  were  entrusted  to  sculptors,  who  paid  but  little  attention  either  to  the 
structural  design  of  the  building,  to  its  setting  out  or  to  the  principles  of  the 
classic  models  which  they  tried  to  reproduce,  was  to  overload  their  structures 
with  ornament.  This  would  seem  in  the  second  half  of  the  16th  century,  to  have 
led  a  reaction  in  art  by  the  theorists,  who  attempted  to  formulate  the  tradition 
of  classic  art  on  fixed  principles  and  to  establish  rules  for  the  employment  of 
purer  architectural  forms.  This  movement  was  probably  influenced  by  the  example 
set  by  Vitruvius,  who  in  his  manuscript,  "de  re  aedificiatione",  written  about 
25  B.  C.  laid  down  rules  for  the  employment  of  the  Orders  of  architecture.  At 
all  events  it  led  to  the  publication  of  similar  works,  of  which  the  first  would 
appear  to  have  been  by  Serlio  (1475 — 1582),  who  in  1542  published  a  work 
on  the  Orders,  followed  by  Vignola  in  1563  and  by  Palladio  in  1570.  Vitruvius's 
manuscript,  discovered  about  the  middle  of  the  15^h  century,  was  accompanied 
by  illustrations  which  have  never  been  found;  to  supplement  this  loss  these 
Italian  authors  introduced  Orders  of  their  own,  based  on  the  monuments  of  the 
first  three  centuries  of  our  era,  instead  of  those  of  Greece,  which  Vitruvius  had 
described,  as  in  his  time  the  monuments  of  Imperial  Rome  had  scarcely  been 
commenced.  Vitruvius  had  described  three  Orders  only,  the  Doric,  Ionic  and 
Corinthian,  to  which  he  had  added  a  primitive  form  of  the  Doric  Order,  which 
he  called  Tuscan.  The  Italians  included  that  as  a  definite  Order,  and  added  a 
fifth,  called  the  Composite  Order.    These  publications  henceforth  constituted  a  copy 


444 


LATER   RENAISSANCE    ORNAMENT. 


book  which  became  a  standard  universally  adopted  throughout  France,  Spain, 
England,  and  Germany  and  led  to  what  used  to  be  called  the  Italian  revival, 
but  which  is  now  generally  known  in  England  as  the  Later  Renaissance,  and  in 
Germany  as  the  Barocco  or  Barock;  as  this  latter  term  is  unknown  in  England, 
that  of  the  Later  Renaissance  has  been  adhered  to  in  this  work.  Although  in 
France  the  earliest  influence  in  the  Louvre  and  at  Fontainebleau  was  that  which 
must  be  attributed  to  Serlio,  in  later  times  Vignola  became  the  chief  authority, 
notwithstanding  the  fact  that  one  of  the  greatest  architects  of  the  French 
Renaissance,  Philibert  de  TOrme  had  published  a  similar  standard  work  in  1567. 
In  England  Palladio  was  generally  recognised  as  the  chief  authority,  owing  pro- 
bably to  the  influence  of  Lord  Burlington,  until  Sir  William  Chambers  in  1759 
brought  out  his  work  on  "Civil  Architecture",  which  has  since  been  regarded  as 
the  chief  standard.  As  on  the  whole  the  five  orders  of  Vignola  are  looked 
upon  as  better  authorities  not  only  in  France  but  in  America,  they  have  been 
here    reproduced. 


The  five  Orders  after  Vignola.*) 


*)  This  numbers  given  in  the  drawing  are  milHmetres  on  the  supposition  that  the  total 
height  is  a  normal  height  of  one  metre,  divided  into  1000  milHmetres.  To  find  the  dimen- 
sions in  centimetres  which  correspond  to  this  number  simply  multiply  such  with  the  height. 
For  details  see,  "Speltz,  SSulenformen  der  agyptischen,  griechischen  und 
rSmischen  Baukunst". 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


445 


Later  Renaissance  Ornament 
in  Italy. 


\^  As  with  the  Earlier  Renaissance,  the  names  of  the 
architects  were  always  associated  with  the  buildings 
they  designed,  so  that  the  individuality  to  which  re- 
ference has  already  been  made  existed  in  all  their 
works.  The  chief  followers  of  this  school  were  Do- 
minico  Fontana  (1543—1607)  the  architect  of  the  lateral 
facade  of  St.  John  Lateran,  Scamozzi  (1552—1616) 
who  continued  Sansovino's  work  along  the  South  side 
of  the  Piazza  de  San  Marco  and  published  a  work  on 
the  Orders  in  1615,  Carlo  Maderno  (1556—1629),  Ber- 
nini (1598—1680)  the  architect  of  the  peristyles  in  front 
of  St.  Peter's,  Rome,  Borromini  (1599—1661  and  Pietro 
da  Cortona  (1596—1699). 


Coat  of  Arms  in  the  church 
Sainte  Agn^se  by  Borromini  Rome, 

16th  century. 


Fig.   1. 


9} 

3. 

1) 

4. 

» 

5. 

>9 

6. 

Plate  271. 

Door  in  the  entrance-hall  of  the  Palazzo  Cornaro  della  Ck  grande  in  Venice 

(Gurlitt,  Geschichte  des  Barockstils  in  Italien). 

Corner  pilaster-capital  from  the  Palazzo  Nonfinito  in  Florence,  commenced 

by  Briontolenti  and  continued  by  Scamozzi  (Gurlitt). 

Canopy  over  an  altar  in  Rome,  18th  century  (Raguenet). 

Balcony  support   from   the   portal    of  the  Palazzo   Fenzi   in   Florence,   by 

Raffaele  Curradi,  of  the  year  1580  (Hirth). 

Garden  gate  at  Frascati  near  Rome  (Raguenet). 

Window    finial    of    a    palace    in    Genoa   in   the   Via   Loncellini,    17th  century 

(Raguenet). 

Gate  pier  from  the  Villa  Lodovisi  near  Rome,  18th  century  (Raguenet). 


446 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  271. 


Plate  272. 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


447 


448 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  273 


Fig. 

1. 

ji 

2. 

IT 

3. 

*l 

4. 

i> 

6. 

6. 

ITALIAN  LATER  RENAISSANCE  ORNAMENT.  449 

Plate  272. 

(After  Raguenet,  Materiaux.) 

Balcony  and  door-head  from  St.  Domenico  Square  in  Nice,  18th  century. 

Shield  from  the  Palazzo  Riccardi  in  Florence. 

Balustrade  in  the  interior  of  the  St.  Martino  Cloister  in  Naples,  built  by 

Fansaga. 

Stair  balustrade  from  St.  Domenico  and  Sixto  in  Rome,  built  by  Bernini. 

Door-knocker  in  Florence  (L'art  pour  tous). 

Fountain  in  front  of  Brescia  cathedral,  17th  century. 


Plate  273. 

Fig.   1.     Coat  of  arms  from  a  palace  in  the  Via  Ponta  Rossa  in  Florence.    Marigno 

sculpture  from  the  end  of  the  17th  century  (Hirth). 
„     2,  and  4.    Lace  work  in  the  Musee  des  Arts  decoratif,  Paris  (L'art  pour  tous). 
„     3.    Faience  Vase  by  Savona,  from  the  Gasnault  Collection,  Paris  (L'art  pour  tous). 
„     5,  and  6.    Furniture   from  the  Mansi   Palace    at   Segromigno   near  Lucca   (L'art 

pour  tous). 


Plate  274. 

Fig.   1.    Arm   chair  from  the  Cloister  of  St.  Martino   in  Naples,   in  the  Museum  at 

Naples,  18*  century  (Raguenet). 
„     2.    Hanging  lamp  from  Bologna,  17th  century.    Made  of  painted  iron-plate,  in  the 

form  of  a  30  sided  polygon.    At  present  in  the  Arts  and  Crafts  Museum  in  Berlin. 

(J.  Lessing,  Vorbilderhefte  aus  dem  kgl.  Kunstgewerbemuseum.) 
„     3.    Hanging  lamp,  beginning  of  the  18th  century.    Made  of  gilt  iron.    At  present  in 

the  Arts  and  Crafts  Museum  in  Berlin  (Lessing). 
„     4.    Cresting  of  a  cupboard  in  the  Parma  Museum,  17th  century  (Raguenet). 
,,     5.    State  carriage,  18th  century.    In  possession  of  Senator  Davia  in  Bologna  (Hirth). 
„     6.    From  a  bronze  mantel-piece  figure,  16th  century.    From  Giovanni  da  Bologna 

SchooL    At  present  in  the  National  Museum  in  Florence  (Hirth). 


SPELTZ,  Styles  of  Ornament  29 


450 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 

1 


Plate  274. 


Plate  275. 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


451 


29" 


452 


ITALIAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  275. 

(After  L'art  pour  tous.) 

Fig.  1,  2,  and  4.    Venetian  lace  collars,  17th  century. 

„  3.    Gold  embroidery  table  cover,  17'h  century. 

„  5.    Embossed  Genoese  velvet,  IZ^h  century. 

„  6.    Genoese  work,  silk  on  gold  ground,  IZ'h  century. 


Wheel  of  a  State  Carriage 

by  Fllippe  Passarini,  born  in  Rome,  1638  (Hirth). 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


453 


Later  Renaissance  Ornament  in  France. 

(Louis  XIV.  Style.) 


nder  the  influence  of  Debrosse  (c.  1580—1641)  and  his  pupil  Le- 
mercier  (1585—1634),  the  former  the  architect  of  the  Luxem- 
bourg palace  (1611 — 16)  and  the  latter  of  the  Sorbonne,  a  new 
development  began  at  the  commencement  of  the  17^^  century, 
to  which  the  title  of  the  Later  Renaissance  has  been  given. 
The  germs  of  the  movement  may  really  be  traced  in  the  Louvre 
(where  Pierre  Lescot  would  seem  to  have  been  influenced  by 
Serlio),  but  it  took  a  more  decided  form  in  the  Luxembourg 
palace,  and  in  the  palace  of  Versailles  and  the  Chateau  of  Mai- 
sons-sur-Seine  by  Francois  Mansard  (1599 — 1660).  Then  follow- 
ed Perrault  the  architect  of  the  East  fagade  of  the  Louvre 
which  marks  a  return  to  classic  principles,  Lemaire  (1670  to 
1745)  the  architect  of  the  Hotel  Soubise,  Marot  (1630 — 1679)  who  designed  the  Hotel  de 
Noailles,  and  Jules  Hardouin  Mansard  (1645—1708),  the  nephew  of  Francois  Mansard,  who 
may  be  said  to  have  been  the  creator  of  the  Louis  XIV.  style,  a  style  better  fitted  for 
rich  internal  decoration  than  for  the  exterior  of  a  mansion. 


Initial  Louis  XIV.  (Petzen- 
dorfer,  Schriftenatlas.) 


Plate  276. 

(After  Cesar  Daly,  Motifs  Historiques  d'architecture  et  de  sculpture  d'ornement.) 

Fig.  1,  and  2.    Balcony   and   doorhead  from  the  house  No.  27  Rue  St  Andre   des 
Arts,  Paris. 
„     3,  and  5.    Small  consoles  from  Versailles. 
„     4.    Mask  from  the  Place  Vendome  in  Paris. 
„     6.    Balustrade  from  Versailles. 
„     7.    Console  bracket  in  Paris. 


Plate  277. 

(After  Cesar  Daly,  Motifs  Historiques  d'architecture  et  de  sculpture  d'ornement.) 

Fig.  1.    Side  door  of  the  church  of  St.  Nicolas-du-Chardonnet,  Paris. 
„     2.    Door  of  the  Hotel  Beauvais,  Rue  St.  Antoine  No.  62,  Paris. 


454 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  276. 


Plate  277. 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


455 


456 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  278. 


FRENCH  LATER  RENAISSANCE  ORNAMENT.  457 

Fig.  3.    Balustrade  parapet  and  dormer  window  Rue  St.  Guillaume  No.  22,  Paris. 
„     4.    Attic  window  from  tiie  Marble  Court  of  the  palace  of  Versailles. 


Plate  278. 

Fig.   1,  2,  and  3.    Console  brackets  from  a  hotel  in  the  Rue  St.  Louis  en  I'lle,  No.  51, 

Paris  (Daly). 
„     4.    War  trophy  in  the  Park  at  Versailles  by  Francois  Girardon,  born  1627  or  1630 

in  Troyes,  died  1715  in  Paris  (Hirth). 
„     5.    Ornament  in  wrought-iron,  by  Hugues  Brisville,  Paris  (Hirth). 
„     6.    Door  of  a  Confessional  from  the  church  of  St.  Nicolas-du-Chardonnet,  Paris  (Raguenet). 
„     7,  and  8.    Vases  from  the  park  at  Versailles.    Cast  in  Bronze  by  Claude  Ballin 

(1615—1678)  (Raguenet). 


Plate  279. 

Fig.  1.    Handle  of  an  vase,  by  Coyzevox,  born  in  Spain,  but  worked  in  Paris  from  1640 

to  1720  (Hirth). 
„     2.    Acanthus  of  the  later  Renaissance  (Raguenet). 
„     3.    Mural  decoration,  after  Johann  Berain,  born  at  St.  Mihiel,  Lorraine,  in  1639,  died 

in  Paris,  1711.    Taken  from  his  work  on  omamant  (Hirth). 
„     4.    Ceiling  decoration,  from  an  engraving  by  Daniel  Marot,   1650—1712,  Architect 

and  Designer  in  Paris  (Hirth). 


Plate  280. 

Fig.  1.     Door-knocker  from   Bordeaux,   Cours    de  I'lntendance   No,  19,    18th   century 

(Raguenet). 
„     2,  3,  and  5.    Ornaments  for  rifle  mountings,  from  an  engraving  by  Jean  Berain 

(Hirth). 
„     4,  6,  and  7.    Locksmith's  handiwork  by  Hugh  Brisville,   from   an  engraving   by 

Jean  Berain.    Brisville  was  a  locksmith  in  Paris  about  the  year  1663  (Hirth). 


Plate  281. 

(After  Hirth,  Formenschatz.) 


Fig.   1.    Mural  decoration  by  Jean  Berain. 
„     2.    Design  for  ceiling,  from  an  engraving  by  Nicolas  Loir,  Painter  and  Engraver 

in  Paris,  1624—1679. 
„     3.    Design  for  mural  decoration  by  Gilles  Marie  Oppenort.   Period  of  the  Regency. 
„     4.    Design  for  mural  decoration  by  Daniel  Marot. 


458 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  279. 


'^^k'/rmi 


Plate  280. 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


459 


460 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  281. 


Plate  282. 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


461 


462 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  283. 


FRENCH  LATER  RENAISSANCE  ORNAMENT.  463 

Plate  282. 

Fig.   1.     Door-knocker  (L'art  pour  tous). 
„     2.    Reading-desk  of  wrought-iron,  from  the  Le  Secq  Collection  of  the  Tournelle 

(Champeaux). 
„     3.    Candelabrum  of  gilt  wood,  17th  century.    From  the  Collection  of  the  Duke  de 

la  Tremouille  (Champeaux). 
„     4.    Console  for  a  mantel-piece  in  chased,  gilt  bronze,  from  the  period  of  the  Regency. 

From  the  Collection  of  the  Museum  of  Decorative  Art,  Paris  (Champeaux). 
„     5.    Sedan  chair  (Havard). 


Plate  283. 

Fig.  1.    Chest  of  drawers  after  Jean  Berain  (Hirth). 
„     2.    Bracket-candlestick  from  the  palace  of  Versailles,  probably  after  Berain  (L'art 

pour  tours). 
„     3.    Cupboard  of  ebony  with  copper  open-work.   Meuble  de  Boule  from  the  18th  century 

(Bajot,  Encyclopedic  du  Meuble). 
„     4.    Chair  of  carved  wood  in  the  Mobilier  national,  Paris  (Champeaux,  Portefeuille 

des  Arts  decoratifs). 


Plate  284. 

Fig.  1.  Window  mantle  by  Daniel  Marot,  Architect,  Paris,  1650—1712  (Hirth). 

2.  Canopy  bed  by  the  same  artist  (Hirth). 

3.  Design  of  a  Candelabrum  by  Gilles  Maria  Oppenort  (Hirth). 

4.  Console  table,  Jean  Berain  (Hirth). 

5.  and  6.    Spinet  with  double  keyboard,  18th  century  (Bajot). 
7.    Emblem  by  Gilles  Maria  Oppenort  from  the  period  of  the  Regency  (Hirth). 


Fig. 

1. 

>I 

2. 

19 

3. 

>» 

4. 

■  ) 

5. 

Plate  285. 

Beaten  and  chased  silver  ewer,  by  Daniel  Marot,  from  the  year  1700  (Hirth). 

Faience  jar  of  the  apothecary  of  the  Duke  of  Orleans,  beginning  of  18th  centurj'. 

In  the  Gasnault  Collection  (Jannicke). 

Faience  dish  from  Moustiers.    In  the  Gasnault  Collection  (Jannicke). 

Faience  jug  from  Rouen  (Jannicke). 

Dish  of  beaten  and  chased  silver,  from  a  drawing  in  the  Robert  Colle  Album 

in  the  Cabinet  des  Estampes,  Paris  (Havard). 


Plate  286. 


Fig.  1.    Embossed  velvet  (Havard). 
„     2,  and  3.    Stuff  patterns  by  Daniel  Marot  (Hirth). 
„     4.     Curtain  by  Daniel  Marot  (Hirth). 


464 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  284. 


^«^:^^-^Jl!i^=^ 


-lyHiH^lilw^ii     .    ^Mli 


Plate  285. 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


465 


SPELTZ,  Styles  of  Ornament. 


30 


466 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


FRENCH  LATER  RENAISSANCE  ORNAMENT. 


467 


Fig.  5.    Curtain  with  ornament  appliqu6  (Champeaux). 

„  6.  Carpet  pattern,  designed  by  Robert  de  Cotte  for  the  Manufacture  de  la  Savonnerie 
at  the  beginning  of  the  IS^h  century.  The  drawing  is  now  in  the  Cabinet  des 
Estampes,  of  the  National  Library,  Paris  (Champeaux). 


Vase  in  the  Park  at  Versailles  (Daly). 


30' 


468 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Later  Renaissance  Ornament  in  Germany,  Austria, 

and  Switzerland. 


|ne  of  the  greatest  enemies  to  the  development  of  Art 
is  War.  As  soon  as  the  horrors  of  the  Thirty  Years 
War  were  to  a  certain  extent  overcome,  Art  began 
again  to  bestir  itself  in  Germany.  The  Palladian  Classic 
Style  which  ruled  in  Holland  established  itself  in  North 
and  South  Germany,  on  the  Rhine,  and  in  Austria. 
Dutch  Classic  was  introduced  into  Germany  by  Johann 
Arnold  Nering,  who  died  in  1605,  in  his  famous 
building  the  Berlin  Armoury,  whose  architectural  re- 
putation is  only  excelled  by  the  work  of  his  successor 
Andreas  Schluter.  SchlUter,  born  in  Hamburg  1664, 
died  in  St.  Petersburg  1714,  is  the  real  founder  of 
the  Rococo  style  in  Berlin.  In  Dresden,  the  foundation  of  the  same  was  laid  by  George 
Baehr,  1666 — 1738,  in  the  church  known  as  the  Frauenkirche  which  was  commenced  in 
the  year  1726,  and  by  Matthaus  Daniel  Poppelmann,  1662—173-5,  in  his  building  of  the 
Zwinger  Palace.  The  Court  church  in  the  same  city  was  built  by  Gaetano  Chiaveri  of 
Rome,  1689—1770. 

The  Later  Renaissance  dominated  Catholic  South  Germany,  where  it  was  introduced 
by  Gaspare  Luccali,  1629—1680,  in  his  building  of  the  church  called  the  Theatinerkirche 
in  Munich.  In  Austria  it  was  specially  influenced  by  the  architects  Dientzenhofer,  and  their 
pupil  Johann  Bernhard  Fischer  from  Erlach,  1650—1723.  But  in  consequence  of  the  powerful 
position  held  by  France  at  the  period,  the  influence  of  the  French  Louis  XIV  style  became 
felt  in  Austria  also. 


Vase  before  the  Bridge 
in  Kuppenberg  (Ohmann). 


Plate  287. 

Fig.   1.    Carved  wood  door  from  the  Armoury  in  Berlin,  about  the  year  1700  (Cornelius 

Gurlitt,  Das  Barock-  und  Rokoko-Ornament). 
„     2,  and  5.    Bracket  and  cresting  from  Archiepiscopal  Palace  in  Salzhi'rg  (Ohmann, 

Barock). 
„     3.    Pilaster  and  entablature  in  the  Imperial  Belvedere  in  Vienna  (Ohmann). 
,     4.    Mask  of  a  warrior  from  the  Berlin  Armoury.   By  Andreas  Schluter,  1662—1714 

(Hirth). 


Plate  287. 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


469 


470 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  288. 


Plate  289. 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


471 


472 


GERMAN  LATER'RENAISSANCE  ORNAMENT. 


Plate  290. 


GERMAN  LATER  RENAISSANCE  ORNAMENT.  473 

Plate  288. 

•(After  Ohmann,  Barock.) 

Fig.   1.  Window  of  a  dwelling-house  in  Stein  on  the  Danube. 

2.  Balcony  in  the  Court  Library  in  Vienna. 

3.  Window-head  from  Wendish  Seminary  in  Prague. 

4.  Window  and  door  of  a  dwelling-house  in  Prague. 

5.  Wrought-iron  candelabrum  from  Elsgrab,  Austria. 

6.  Window  from  a  house  in  Krems  on  the  Danube. 


Plate  289. 

Fig.  L  Wrought  iron  grille  in  the  Serviten  church  in  Vienna  (Dr.  A.  Ilg  and  Dr.  Heinrich 
Kabdebo,  Wiener  Schraiedewerke  des  17.  und  18.  Jahrhunderts). 

„  2.  Lock  of  the  principal  door  in  the  church  of  St.  Charles  Borromeo  in  Prague 
(Ohmann). 

„     3.    Fan-light  from  the  church  of  St.  Clementine  in  Prague  (Ohmann). 

„  4.  Wrought  iron  gate  of  the  Guild-hall  at  Meise  in  Zurich,  from  the  18*^  cen- 
tury (Oberhausli,  Aufnahmen  alter  schweizerischer  Kunstschmiedearbeiten). 

„     5.    Hinge  of  door  in  the  church  of  St.  Charles  Borromeo  in  Prague  (Ohmann). 

„     6.    Door  handle  of  the  same  (Ohmann). 


Plate  290. 

Fig.  L    Grandfather's   clock   from   the  Klosterneuburg  Monastery  on  the  Danube 

(Ohmann). 
„     2.     Chandelier  of  wrought  iron,   18th  century.    In  the  Arts  and  Crafts  Museum  in 

Berlin  (Lessing). 
„     3.    Reliquary  from  the  church  in  Heiligenkreuz,  Lower  Austria  (Ohmann). 


Plate  291. 

(After  Fr.  Ohmann,  Barock.) 

Fig.   1,  and  2.    Gilt  console  tables  from  the  Imperial  Palace  in  Vienna. 
„     3.    Armchair  from  the  Emperor's  room  in  the  Klosterneuburg  Monastery  on 

the  Danube. 
„     4.    Stool  in  private  collection. 

„     5.    Brass  lock  mount  in  the  Imperial  Court  Library  in  Vienna. 
„     6.    Upper  part  of  fire  screen  from  the  Emperor's  Room  in  the  Klosterneuburg 
Monastery  on  the  Danube. 


474 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  291. 


Plate  292. 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


475 


476 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  293. 


GERMAN  LATER  RENAISSANCE  ORNAMENT.  477 


Plate  292. 

Fig,  1_4_  and  6.    Goldsmith's  work   designed  by  Friedrich  Jacob  Morisson,  Draughtsman 

and  Goldsmith  in  Vienna  and  Augsburg,  1693—1697  (Hirth). 
5.    Sliver  gilt  jug,  the  work  of  the  Augsburg  goldsmith  Johann  Heinrich  Mannlich, 

who  died  in  1718.   In  the  Imperial  Palace  at  Laxenburg  (Dr.  Albert  Ilg,  Sammlung 

kunstindustrieller  Gegenstande  des  AUerhochsten  Kaiserhauses). 
7.    Sword  hilt.    From  the  work  "Neu  inventiose  DegengefaB"  by  Georg  Heumann, 

Cutler  in  Nuremberg,  who  died  in  1691   (J.  E.  Wessely,   Das  Ornament  und  die 

Kunstindustrie). 
„     8,  and  10.    Goldsmith's  work  from  "Neues  Groteskenwerk",    engraved  by  L.  Beyer 

(Wessely). 
„     9.     Plant  ornament  by  J.  Honervogt,  Draughtsman    and  Copper  Engraver  who  lived 

towards  the  end  of  the  17th  century  (Wessely). 
„    11.     Door  handle  by  J.  C.  Reiff,  Copper  Engraver  in  Nuremberg  in  the    18th  century 

(Wessely). 
„    12.    Goldsmith's  work,  acanthus  leaf  work  in  the  form  of  a  goat  by  Wolfgang  Hie- 

ronymus  v.  Bemmel,  Goldsmith,  end  of  17th  century  (Wessely). 


Plate  293. 

Fig.  1.    Monstrance,  end  of  17th  century.    In  the  Cathedral  Treasury  in  Limburg  on  the 
Lahn  (Hirth). 
„     2.    Carved  relief  on  door  in  the  Rochus  church,  Vienna  (Ohmann). 
„     3.    Church  candlestick.    In  the  Deanery  church  in  Klattau  (Ohmann). 
„     4.    Nautilus  goblet,  end  of  17th  century.   In  the  Grunen  Gewolbe  in  Dresden  (Hirth). 
„     5.    Carved  mirror  frame  in  the  Glankirchen  in  Upper  Austria. 


Plate  294. 

Fig.  1.    Embroidered  vestment  in  the  Collection  of  Vaterlandischer  Altertumer,  Stuttgart 

(Dolmetsch). 
„     2.    Pattern  of  material   dating  from  the   end  of  the  17th  century.    In  the  Pfalz 

Arts  and  Crafts  Museum  in  Kaiserslautern  (Hirth). 
„     3,  and  5.    Wrought-iron  candlesticks,    1660—1680.     In   the   Nuremberg  Museum 

(Hirth). 
„     4.    Watch.    In  the  Munich  Museum.    Nuremberg  work,  beginning  of  the  18th  century 

(Hirth). 


478 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  294. 


Plate  295. 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


479 


,  ^ JCSt^/X 

^usfuc  tiimuli 

e^  a  ratio  sm 

^c?us  (anonjap  MSjfbCX 
(^tfieclvalis 
et^cruesiris 
^ecmus  e(ecms3nerhipolen 

^^cles  i?e  (diecjiatceiiHauois 

r^/E<^ui  amans.^auper 


\^Ul  1  1 


VViy\.01J.l      1    JL.1V1  L).  /\I111U      1\ 


itTATISSlJ^.LXXl 


,  HOCl.  ....... 

ligatiss  :collegi  l/mstr  au  b  i> 

Q  VOD  MAGNA  EX  PARTE  fl/N 

Tu  Viator  ' 

Defuncti  manibus.  c^tern^  faluLis 
n  palria,  precar 


480 


GERMAN  LATER  RENAISSANCE  ORNAMENT. 


Plate  295. 

Fig.   1.     Initial  letter  after  Lucas  Kilian  (1627)  (Petzendorfer). 
„     2.    Initial  letter  (Petzendorfer). 
„     3.    From  an  etched  Solnhofer  stone  plate,  in  the  "Getreidekasten  zum  leeren  Beutel" 

Regensburg,  1718  (Weimar). 
„     4.    Engraving  on  bronze  by  Franz  Christoph  von  Rosenbach,  f  1687.   In  Wiirzburg 

cathedral  (Weimar). 
„      5.    Etched  on  stone  tomb  of  Thomas  von  Pirnitz,  f  1691.    In  the  Jesuist  church 

ai  Straubing  (Weimar). 


Lantern  in  wrought  iron 

(L'art  pour  tous) 


DUTCH  LATER  RENAISSANCE  ORNAMENT. 


481 


Later  Renaissance  Ornament  in  the  Netherlands. 


arly  in  the  17th  century  began  the  great  Art  Epoch  called  into  existence 
by  Peter  Paul  Rubens.    This  development  favoured  the  introduction 
of  the  Later  Renaissance  Style  into  the  Netherlands.  Cardinal  Granvella, 
who  introduced  Italian  artists  into  Belgium,  was  most  active,  and 
succeeded  in  erecting  a  most  important  series  of  architectural  con- 
structions.   The  Jesuits  erected  also  a  number  of  most  magnificent 
buildings  in  the  Rococo  Style;   in  Holland,   however,  where  rigid 
theology  ruled,  there   was  a  tendency  to  more  classical  work,  for 
J. Covens  and  C.Mor-   which  reason  the  former  style  never  took  root  in  the  country.    The 
tier,  Amsterdam       chief   exponent   of   the   purer   Italian   style   in  Holland   was  Philip 
(Ysendyck).  Vuyboons  (1608—1675). 


Initial  from  the 
Printing  Works  of 


Fig.   1. 


Plate  296. 

(After  Ysendyck,  Art  dans  les  Pays-Bas.) 
Cartouclie,  c.  1639,  engraved  by  Peter  de  Jode  for  tfie  portrait  of  the  Holland 


painter  G.  Flinck. 
2.    Wall-paper  from   a  sample  book   of  the  factory  in  Malines.    In  the  Royal 

Antiquarian  Museum,  Brussels. 
3—5.    Carriage  of  the  Duke   of  Ossuna  used  when   entering  Utrecht  1713  as 

Extraordinary  Ambassador  from  Philip  V.  of  Spain.    From  an  engraving  by 

Picart,  Amsterdam  1714. 


Plate  297. 

(After  Ysendyck,  Art  dans  les  Pays-Bas.) 

Fig.  1.    Lace  from  the  IS^h  century.    Is  called  "Point  de  Buiche",  and  is  made  with  the 

spmdle  alone  in  one  piece  without  any  relief. 
„     2.    Arm-chair  from  the  book  by  Crispin  van  den  Passe,  printed  in  Amsterdam  in 

the  year  1642  under  the  title  of  "Boutique  Menuiserie"  by  M.  W.  Silvius,  Antwerp. 
„     3.    Chimney-piece.     From  the  work   "Cheminees  hollandaises"   by   G.  de  Gaendel, 

drawer,  born  in  Middelburg.    From  the  year  1730,  published  by  Martin  Gottfried 

Crosphius. 
„     4.    Wrought  iron  door  knocker. 


SPELTZ,  Styles  of  Ornament. 


31 


482 


DUTCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  296. 


Plate  297. 


DUTCH  LATER  RENAISSANCE  ORNAMENT. 


483 


■«.-i   "?*>■:   i?^-^    s;  .s?*V,?'.-f  ■  ■  "  ::■•'      -t*  ■-■■  -.,  ■■.:,    ■  •    I 


31* 


484 


DUTCH  LATER  RENAISSANCE  ORNAMENT. 


Plate  298. 


DUTCH  LATER  RENAISSANCE  ORNAMENT, 


485 


Plate  298. 

(After  L'art  pour  tous.) 

Fig.   1—3.    Sign  of  the  old  Inn  "A  I'Etrille"  in  the  Market  Place  at  Brages.    From 

the  17th  century. 
„     4—8.    Wall  tiles  of  Delft  from  the  Inn  "Le  Diable  au  corps"  in  Brussels.   From 
the  17th  century. 


Delft  Faience  goblet  in  the 
Collection  Gasnault  (Jaenicke). 


486 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  299. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


487 


Later  Renaissance  Ornament  in  England. 


As  already  stated  in  the  introduction  to  English  Renaissance 
Ornament  (page  429)  the  Later  Renaissance,  which  used  to  be  known 
as  the  pure  Italian  style,  was  introduced  into  England  by  Inigo  Jones 
(1573 — 1652).  The  first  building  of  importance  erected  in  that  style 
being  the  Banqueting  House  in  Whitehall  (1620).  The  style  was  further 
developed  by  Sir  Christopher  Wren  (1632—1723),  Sir  John  Van- 
bureh  (1666—1726),  Nicholas  Hawksmoor  (1666—1736),  James  Gibbs 
(1674-1754),  William  Kent  (1684—1742),  G.Leoni  (1686—1746),  John 
James  of  Greenwich  (?  1687— 1746),  Thomas  Archer  (?  1690—1743); 
Colin  Campbell  (?  1690—1734);  George  Dance  (1695—1768),  Henry  Flitcroft  (1697— 1769)_ 
John  Wood  of  Bath  (1704—1754),  Sir  Robert  Taylor  (1714—1788),  John  Carr  of  York  (1723— 
1807),  James  Paine  (1725—1789),  Sir  William  Chambers  (1726-1796),  Robert  Adam  (1728— 
1792),  Henry  Holland  (1746—1806),  James  Wyatt  (1746—1813)  and  John  Nash  (1752—1835). 


Initial  Letter 

17th  century  (Belcher). 


Plate  299. 

(From  John  Belcher  and  Mervyn  E.  Macartney,  Later  Renaissance  Architecture 

in  England.) 

Fig.  1.  Capital  and  cornice  of  the  Bastards'  House,  Blandford. 

„  2  Details  of  stalls,  Trinity  College  chapel,  Cambridge. 

„  3.  Capital  and  cornice  of  the  "Red  Lion",  Blandford. 

„  4.  Details  of  window.  Town  Hall,  Blandford. 

„  5.  Gate  pier,  from  a  house  in  West  Street,  Chichester. 

„  6.  Lead  rainwater  head  from  the  Great  Hall  of  Winchester  College. 


Plate  300. 

Fig.  1.    Detail  of  overdoor  in  Carved  oak  and  cedar,  Clifford's  Inn,  London  (Henry 

Thomson  in  "Building  News"). 
„     2.    Detail  of  Entablature  of  Reredos,  St.  Stephen's,  Walbrook,  London  (E.  H. 

Sedding). 
„     3.    Detail  of  Pulpit  Shaft,  St.  Stephen's,  Walbrook  (E.  H.  Sedding). 
„     4.    Detail  of  Altar  Rail,  St.  Stephen's,  Walbrook  (E.  H.  Sedding). 
„     5,  and  6.    Carved  Panel,  S.  Margaret's  church  Lothbury,  London  (H.  Inigo  Triggs 

in  Archl.  Assoc.  Sketch  Book). 
„     7.    Detail  of  chimney-piece,  Clifford's  Inn  (John  Barbour  in  "the  Builder"). 
„      8.    Detail  of  Frieze,  North  Porch,  St.  Pauls  Cathedral,  London  (R.  W.  Schultz 

in  Archl.  Assoc.  Sketch  Book). 
„     9.    Carved   panel   in   Chancel   screen   St.  James's  church,    Piccadilly,  London, 

1683  (C.  L.  Gill  in  the  Archl.  Assoc.  Sketch  Book). 


488 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  300. 


Plate  301, 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


489 


490 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  302. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT.  491 

Plate  301. 

Fig.  1.     Sundial  from  Wrest,  Bedfordshire  (Belcher  and  Macartney). 
„     2.    Hexagonal  revolving  lectern  in  Pembroke  College  chapel,  Cambridge  (Belcher 

and  Macartney). 
„     3—5,  and  7.     Details    of   stall   Ends   in    St.   Paul's   Cathedral,    London    (George 

H.  Birch,  London  churches  of  the  17'h  and  IS'h  centuries). 
„     6.    Carved   open -worked    wooden    panel    from    St.   Mary   Abchurch,   London 

(George  H.  Birch). 
„     8.    Organ  in  St.  Mary,  Woolnoth,  London  (George  H.  Birch). 
„     9,  and  10.    Details   of  soffit  of  the  Gallery  of  the  Senate  House,  Cambridge 

(Belcher  and  Macartney). 


Plate  302. 

(From  James  Gibbs,  A  Book  of  Architecture  1728.) 

Fig.   1,  and  3.    Pedestals  for  busts. 

2.    Cartouche  in  the  pediment  of  St.  Martin's  church,  London. 

4,  6  and  7.    Designs  for  Vases. 

5.  Cartouche  for  monumental  inscription. 

8.  Pedestal  of  sundial. 

9.  Cartouche  for  wall  tomb. 


Fig. 

1. 

2. 

3. 

4. 

5. 

6. 

7. 

Plate  303. 

(From  John  Belcher  and  Mervyn  E.  Macartney,  Later  Renaissance  Architecture 

in  England.) 

Wrought  Iron  gate,  Fenton  House,  Hampstead. 

Details  of  staircase  from  a  house  in  the  Close,  Salisbury. 

Clock  of  the  Town  Hall,  Guildford. 

Balusters  of  staircase  from  a  house  in  Great  Queen  Street,  London. 

Chimney-piece  in  a  house  at  Epsom,  Surrey. 

Section  of  panelling  In  the  Chapel  of  Farnham  Castle,  Surrey. 

Shield  of  arms  over  doorway  in  the  same  chapel. 


Plate  304. 

Fig.  1.    Carved  oak  Desk,  Pembroke  college,  Cambridge,  1665  (R.  S.  Dods  in  Archl. 

Assoc.  Sketch  Book). 
„     2.    Detail  from  chimney-piece,  Northgate  Club,  Ipswich  (Henry  Tanner,  jun.). 
„     3.    Upper  portion  of  panelling  Brewers  Hall,   London,   c.  1670  (A.  Stratton  in 

Archl.  Assoc.  Sketch  Book). 
„     4.    Terminal  vase,  North  porch,  St  Paul's  cathedral,  London  (R.  W.  Schultz  in 

Arch.  Assoc.  Sketch  Book). 


492 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  303. 


Plate  304. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


493 


494 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  305. 


Plate  306. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


495 


ENGLISH  LATER  RENAISSANCE  ORNAMENT 


ENGLISH  LATER  RENAISSANCE  ORNAMENT,  497 

Fig.  5.    Detail  of  wrought  iron  gate,  Hampton  Court  Palace  (Hugh  P.  G.  Maule  in 

Archl.  Assoc.  Sketch  Book). 
„     6.    Side  of  Canopy  of  Pulpit,  St.  Stephen's,  Walbrook,  London  (E.  H.  Sedding). 
„     7.    Side  of  bracket  under  doorway,  Hampton  Court  Palace  (P.  J.  Turner  in  Archl. 

Assoc.  Sketch  Book), 


Plate  305. 

Fig.  1 .  Wall  cupboard  in  the  Hall  of  the  Haberdasher's  Company,  Gresham  Street,  London, 
1668  (Chancellor). 

„     2.  Mahogany  table,  beginning  of  18th  century  (Chancellor). 

„     3.  China  cabinet,  middle  of  18th  century  (Chancellor). 

„     4.  Cushioned  chair  (Bajot). 

„     5.  Vase  of  English  porcelain,  Chelsea.    In  the  British  Museum  (JSnnicke). 

„     6.  Georgian  settee  of  the  time  of  Chippendale  (Chancellor). 

„     7.  Toilet  chest  of  the  time  of  Queen  Anne  (Chancellor). 


Plate  306. 

(From  Bailey  Scott  Murphy,  English  and  Scottish  Wrought  Ironwork.) 

Fig.  1,  and  3.    Wrought  iron  stair  rail  of  the  King's  Great  Staircase,  Hampton-Court 

Palace.    End  of  the  17th  century. 
„     2.    Wrought  iron  Staircase  in  Caroline  Park  House,  Granton  NB.     Erected  by 

Viscount  Tarbat  in  1685. 
„     4,  and  8.    Wrought  iron  Balusters  in  South  Kensington  Museum. 
„     5,  6,  9,  and  10.    Details  of  the  Staircase  in  Caroline  Park  House,  Granton. 
„     7.    Wrought  iron  Staircase  in  Caroline  Park  House. 


Fig. 

1. 

ft 

2. 

)» 

3. 

)) 

4. 

>} 

5. 

f ) 

6. 

7. 

Plate  307. 

(From  Bailey  Scott  Murphy,  English  and  Scottish  Wrought  Ironwork.) 

Sign  of  the  "Bell"  Inn  at  Melksham,  Wilts. 
Wrought  iron  bracket  in  South  Kensington  Museum. 
Leg  of  a  console  table  in  South  Kensington  Museum. 
Lamp  bracket  in  Micklegate  Hill  House,  York. 
Entrance  gateway  to  a  house  in  Abbey  Street,  Carlisle. 
Sign  of  the  "White  Hart"  Inn  at  Gretton,  Northants. 
Lamp  holder  at  the  "White  Hart"  Hotel  Salisbury. 


SPELTZ,  Styles  of  Ornament.  32 


498 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  308. 


^^■^V.vv. VV.V^.y^^  ^-^^^^^v .  - .  ^ .  ^. ^  „ ^ .  V.  V 


Mi  M[  ))J1), 


^^3 


' '^^4;^UJ/^U^kM^^ 


Plate  309. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


499 


j.'.i2Jj:^xiit:^i^;>:ii^j!^-i:ixiiZi;i^i^Xf:,ii,VJi::^.^,i^jj^^'i.i^.'^^ 


32^ 


500 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  310. 


ENGLISH  LATER  RENAISSANCE  ORNAMENT.  501 

Plate  308. 

( From  H.  Inigo  Triggs  and  Henry  Tanner  jun.,  Some  Architectural  Works  of  Inigo  Jones.) 

Fig.  1.    Details  of  upper  order  and  cornice  of  the  Banqueting  House,   Whitehall. 

Built  by  Inigo  Jones  in  1619—1622. 
„     2,  and  5.    Details  of  window  of  the  same. 
„     3.    Details  of  lower  order  and  cornice  of  the  same. 
„     4.    Detail  of  lower  window  in  the  same. 

„     6.    Carved  frieze  from  chimney-piece  in  the  Ambassador's  Room,  Knole  Park, 
Kent. 


Plate  309. 

Fig.  1 .  Fire-place  in  the  Salon  at  Forde  Abbey,  Dorset  (Inigo  Triggs  and  H.  Tanner). 
,',  2.  Rain  water  shoot  in  Courtyard  of  Wilton  House  (Inigo  Triggs  and  H.  Tanner). 
„     3,  and  7.    Keystone  in   the   church    of  St.  Catherine   Cree,   Leadenhall  Street, 

London  (George  H.  Birch,  London  Churches  of  the  17th  and  18'h  centuries). 
„     4,  5,  and  6.    Sections  of  mouldings  from  Wilton  House  (Inigo  Triggs  and  H.  Tanner). 


Plate  310. 

Fig     1.    Door  with  balustrade  at  Coleshill  House,  Berkshire  (Inigo  Triggs  and  H.  Tanner). 
„      2,  3,  and  5.    Cornices  to  fig.  4. 
„     4.    The  Spencer  Monument  in  the  church  of  St.  Catherine  Cree,  Leadenhall 

Street,  London  (George  H.  Birch). 
„     6.    Belvedere  at  Coleshill  House  (Inigo  Triggs  and  H.  Tanner). 
„     7.    Door  from  Raynham  Hall,  Norfolk  (Inigo  Triggs  and  H.  Tanner). 


Plate  311. 

Fig.  1.     Detail  of  Internal  Doorway  (Henry  Tanner). 
„     2,  and  3.     Ceiling  at  Kirby  Hall  Northants  (Inigo  Triggs  and  Henry  Tanner). 
„     4.    Ionic  capital,  St.  Magnus  church,  London  Bridge  (E.  H.  Sedding  in  Archl.  Assoc. 

Sketch  Book). 
„     5.    Carving  in  the  Vestry,  Chesterton  church,  Oxon. 
„     6.    Font  with  cover,  Christ's  church  Newgate  Street,  London  (Birch's  London 

Churches). 


502 


ENGLISH  LATER  RENAISSANCE  ORNAMENT. 


Plate  311. 


Border  by  Charles  Eisen  (Hirth). 


■r^^ 


Letter  after  Laurent  (Hirth). 


'ococo  is  the  term  applied  to  the  decadent  forms 
of  the  Later  Renaissance.  The  rivalry  which 
existed  in  the  17*^  century  between  the  free 
style  of  Michael  Angelo  and  that  based  on  the 
principles  laid  down  by  Palladio  and  Vignola  was  continued  into  the  IS**^  cen- 
tury until  about  the  year  1715  with  the  more  or  less  complete  adoption  of  the 
former.  This  resulted  in  a  development  which  held  sway  until  about  1760  and 
was  known  in  France  as  the  Louis  XV.  style,  and  in  other  countries  as  the 
Rococo.  In  this  style  the  ornament  is  entirely  seperated  from  constructional 
requirements  and  the  lines  run  in  free  curves,  symmetry  being  avoided.  Conse- 
quently, as  a  rule,  it  is  more  generally  employed  for  interiors  and  for  decorative 
and  industrial  art. 

The  style  flourished  in  France  for  about  thirty-five  years.  It  was  rarely 
employed  in  either  Italy  or  the  Netherlands,  but  remained  in  Germany  and  England 
up  to  the  end  of  the  18*^  century.  In  the  latter  country  its  chief  exponent  was 
Chippendale  whose  name  is  generally  attached  to  the  style.     Shortly,  however, 


504 


ROCOCO  ORNAMENT. 


Plate  312. 


ROCOCO  ORNAMENT.  505 

after  its  introduction  a  reaction  took  place  in  whicli  classic  work  commenced 
again  to  predominate  in  the  somewhat  pedantic  style  of  Louis  XVI.  This  again 
became  influenced  by  a  new  phase  in  which  for  the  first  time  Greek  art  com- 
menced to  show  itself,  resulting  in  the  development  of  what  later-on  became 
generally  known  as  the  Empire  Style. 


Rococo  Forms. 


Plate  312. 

Fig.  1.  After  Thomas  Chippendale  (Gentleman  and  Cabinet  makers  Director). 

„  2.  After  Meissonler  (Raguenet). 

„  3.  After  Moudon  (Raguenet). 

„  4.  After  Thomas  Johnson. 

„  6.  After  Habermann. 

„  6.  After  F.  de  Cuvilli^s  (Raguenet). 

„  7.  After  Josef  Klauber,  Augsburg  (Raguenet). 

„  8.  From  a  clock  in  the  Art  Industrial  Museum  in  Milan  (Raguenet). 


506 


ITALIAN  ROCOCO  ORNAMENT. 


Plate  313. 


Wy^€^^^^^^^. 


ITALIAN  ROCOCO  ORNAMENT. 


507 


Rococo  Ornament  in  Italy. 

Although  the  origin  of  the  Rococo  style  is  to  be  found  in  the  works  of  Michael  Angelo, 
Bernini,  and  Borromeo  in  Italy,  it  made  very  little  progress  so  far  as  interiors  are  concerned, 
and  in  the  place  of  Louis  XV.  and  XVI.  Ornament,  the  Italians  adhered  to  their  cold  and 
formal  classic  style. 


Plate  313. 

Fig.  1.  Richly  carved  frame,  18th  century  (Raguenet). 
„  2.  Console  table  in  wood  gilt  (L'art  pour  tous). 
„     3.     Bracket  candlestick  of  bronze  gilt,  IS'h  century.    In  the  Arts  and  Crafts  Museum 

in  Milan  (Raguenet). 
„     4.    Processional  crucifix  in  the  church  of  Pieve  di  Budrio,   18th  century  (Hirth). 


Ink-stand  of  gilt  bronze  (L'art  pour  tous). 


508 


FRENCH  ROCOCO  ORNAMENT. 


Plate  314. 


FRENCH  ROCOCO  ORNAMENT.  5O9 

Rococo  Ornament  in  France 

(Louis  XV.  Style). 

Plate  314. 

Fig.  1.    Console  bracket  in  the  house  No.  36,  Rue  Casette,  Paris  (Daly). 
„     2,  and  3.     From  the  Fontaine  de  I'Abbaye,  Rue  Childebert,   Paris.      View  and 

vertical  section  (Daly). 
„      4.     Terminal  vase  in  Vic-sur-Cere,  Lorraine  (Raguenet). 
„     5.    Gateway  of  the  Porcelain  Factory  in  Sevres  (Daly). 


Plate  315. 

(After  Champeaux,  Portefeuille  des  arts  decoratifs.) 

Fig.  1.    Bracket  clock,    made  of  chased  and  gilt  copper,  belonging  to  A.  M.  Selig- 

mann,  Paris. 
„     2.    Bracket  candlestick  from  a  drawing  by  Rene  Michel  Slootz  in  the  Biblio- 

theque  Nationale,  Paris. 
„     3.    Clock  in  case  with   chased  bronze,   by  Duhamel.     In  the  Collection  of  the 

Conservatoire  National  des  arts  et  metiers,  Paris. 
„     4.    Chimney  back  of  cast  iron.    From  tinted  drawing  in  Louis  Fordrin's  Style  at 

beginning  of  the  W^  century. 
„     5.     Candelabrum  of  chased  and  gilt  silver.    In    the  Winter  Palace,  St.  Petersburg, 

probably  French  work  of  the  IS'h  century. 


Plate  316. 

(After  Hirth,  Formenschatz.) 

Fig.  1.    Scissors  in  case,  by  Meissonier. 
„     2.    Chandelier  in  the  Grand  Ducal  Palace  in  Karlsruhe.     French  work  from  the 

beginning  of  the  year  1740.     Drawing  by  A.  Stuchi. 
„     3.    Louis  XV.  vase  (L'Art  pour  tous). 
„     4.    Head  of  stick  in  metal  chased,  by  Meissonier. 
„     5.    Silver  table  centre-piece,  by  Meissonier. 


Plate  317. 

Fig.  1.     Commode  in  rosewood  marquetry  (Bajot,  Encyclopedie  du  Meuble). 
„     2.    Chair  with  cane  seat  and  back  (Bajot). 
„     3.    Key,  by  Francois  de  Cuvillies  pere  (Hirth). 

„     4.    Design  for  an  ambassador's  carriage  by  Vaneroe,  sculptor  in  Paris.    From  a 
drawing  in  the  Bibliotheque  Nationale,  Paris  (Champeaux). 


510 


FRENCH  ROCOCO  ORNAMENT. 


Plate  315. 


•\/-^^ 


^# » /  "  %^  ft 


s^ 


s^^;^*^  ^5^^^  H'^^^  ^W 


36 


Ml. 

Mi 


■nil  i"^  .^jjg^^*'  AWiw4i[IJHIWiiiiii:imlli 


Plate  316. 


FRENCH  ROCOCO  ORNAMENT. 


511 


512 


FRENCH  ROCOCO  ORNAMENT. 


Plate   317. 


Plate  318. 


FRENCH  ROCOCO  ORNAMENT. 


513 


SPELTZ,  Styles  of  Ornament. 


33 


514 


FRENCH  ROCOCO  ORNAMENT. 


Plate  319. 


FRENCH  ROCOCO  ORNAMENT.  515 

Plate  318. 

Fig.   1.     Leaf  from  a  book  on  ornament  by  Juste  Aurele  Meissonier,  born  in  Turin  in 

1695,  died  at  Paris  1750  (Hirth). 
,,     2.    Mural  decoration  (Hirth). 
„     3.    Design  for  a  throne  for  Louis  XV.  by  Rene  Michel  Slootz.    From  a  drawing 

in  the  Bibliotheque  Nationale,  Paris  (Champeaux). 
„     4.    Top  of  gold  frame  by  Meissonier  (Hirth). 
„     5.     Console  table  of  carved  and  gilt  wood,  from  the  Regency  (Bajot). 


Plate  319. 

Fig.  1,  2,  and  7.  Samples  of  embroidery  from  coloured  drawings  by  Charles 
Germain  de  St.  Aubin,  1721—1786.  In  the  Bibliotheque  de  I'Institut  National 
(Champeaux). 
3,  5,  and  6.  Letters  by  Laurent  from  a  copybook  by  Schenau:  "L'alphabet 
de  ramour,  ou  recueil  de  chiffres  a  I'usage  des  amants  et  des  artists".  Paris  1766 
(Hirth). 
„      4.    Monogram  with  ducal  coronet,  ascribed  to  St.  Aubin  (Champeaux). 


Plate  320. 

(After  Champeaux,  Portefeuille  des  arts  decoratifs.) 

Fig.    1.    Back  of  sofa  from  a  coloured  drawing  by  Francois  Peyrotte.    In  the  Berard 
Collection. 
„      2.    Under  mantle  alter  a  drawing  by  St.  Aubin. 

„     3.     Arm-chair  of  wood  gilt  the  seat  and  back  of  Beauvais  tapestry. 
,,     4.     Chair  covering  of  embroidered  silk,  from  the  end  of  the  reign  of  Louis  XV. 


Plate  321. 

(After  Roger-Miles,  Comment  discerner  les  styles.) 

Fig.   1,  4,  5,  and  6.    Embroideries  of  court  dress. 
„     2,  3,  7,  8,  and  9.    Ornaments. 
„    10.    Sleigh  carved  in  wood  gilt. 
„    11,  and  12.     Spoon  and  fork  by  Thomas  Germain,  Goldsmith  in  Paris. 


Plate  322. 

Fig.   1.     Design  for  interior  decoration  by  Meissonier. 


33* 


516 


FRENCH  ROCOCO  ORNAiMENT. 


Plate  320. 


77/ir-      ■■   Ai.-"^ 


;^.■«!vilv3^^  -  ., 


Plate  321. 


FRENCH  ROCOCO  ORNAMENT. 


517 


518 


FRENCH  ROCOCO  ORNAMENT. 


Plate  322. 


GERMAN  ROCOCO  ORNAMENT.  5 19 


Rococo  Ornament  in  Germany 
and  Austria. 

From  the  year  1725  onwards  the  Rococo  held  sway  in  South  Germany  with  more 
strongly  marked  peculiarities  than  in  France,  being  more  fantastic  and  more  varied  in  form  but 
not,  however,  so  elegant  as  the  French  Rococo.  The  first  architects  of  this  style  were: 
Johann  Balthazar  Neumann  (1678—1753),  and  Francois  de  Cuvillies  pere  (1678—1768)  in 
South  Germany,  and  Georg  Wenzel  von  Knobelsdorif  (1607 — 1753),  architect  of  Frederick 
he  Great,  and  Carl  von  Gontard  (1738-1802)  in  Berlin. 


Plate  323. 

The  Royal  Castle  in  Dresden. 

(After  Carl  Schmidt  and  Schildbach,  der  Konigliche  Zwinger  in  Dresden.) 

This  structure  was  begun  by  Daniel  Mathaus  Poppelmann  in  the  year  1711,  but  upon 

completion  of  the  south  front  in  1722,  had  to  be  postponed  for  want  of  funds.   This  building 

is  without  doubt  the  most  debased  of  the  Rococo  period,  but  it  evinces  a  creative  fancy 

whose  equal  it  would  be  difficult  to  find 

Fig.   1.  Corner  cartouche  in  the  south  front  of  the  wall  pavilion. 

2.  Pilaster  decoration  of  the  wall  pavilion. 

„     3.  Figure  supports  from  the  arch  gallery. 

„     4.  Acanthus  spray  on  the  wall  pavilion. 


Plate  324. 

(After  P.  Halm,  Ornament  und  Motive  des  Rokokostiles.) 

Fig.   1.    City  arms  on  the  Town  Hall  at  Bamberg  by  Meister  Bonaventura  Mutschell,  1750. 
„      2,  and  3.    Details  from  the  pulpit   of  St.  Michaels  church  in   Bamberg,   of  the 

year  1750. 
„     4.    Garden  figure  from  the  Cardinal's  Palace  of  Seehof  near  Bamberg,  of  the 

year  1730. 
„     5.    Coat  of  arms  on  tomb  in  Bamberg,  of  the  year  1770. 
„     6.    Wrought  iron  cresting  of  a  gate  in  Wurzburg  Castle. 


Plate  325. 


Fig.  1.    Arm-chair  of  German  work  (Champeaux). 
„     2.    Carved  mirror  frame  (Champeaux). 
„     3.    Frame  of  fire  screen  (Champeaux), 


520 


GERMAN  ROCOCO  ORNAMENT. 


Plate  323. 


Plate  324. 


GERMAN  ROCOCO  ORNAMENT. 


521 


522 


GERMAN  ROCOCO  ORNAMENT. 


Plate  325. 


GERMAN  ROCOCO  ORNAMENT.  523 

Fig.  4.     Balcony  of  carved  wood,  middle  of  18th  century.    In  George  Hirth's  Collection. 
„     5.    Box  by  Joh.  Leonard  Wiist,  Engraver  and  Goldsmith  in  Augsburg  in  the  year  1730 

(VVessely). 


Plate  326. 

Design  for  Interior  decoration  by  Habermann. 


Plate  327. 

Fig.   1.     Pulpit  in  the  church  at  Naumburg  (Raguenet). 

„  2,  and  3.  Shoe-buckle  by  Jeremias  Wachsmuth,  Painter  and  Engraver,  born  in  Augs- 
burg in  1712,  died  1779  (Wessely). 

„     4,  and  6.    Sword  hilt  by  the  same  (Wessely). 

„  5.  Handle  of  a  key  after  Gottfried  Forschter,  Mastersmith  in  Brunn  about  the  year 
1750  (Wessely). 

„     7.    Stove  from  the  Castle  of  Bruchsal  by  Albert  Stucki  (Hirth). 

„     8.    Rosette  from  a  ceiling  in  the  Castle  of  Bruchsal  by  Albert  Stucki  (Hirth). 


Plate  328. 


Fig.  1 — 5,  and  7.    Melssener  porcelain  (Dresden  Ciuna)  (Champeaux). 
„     6.    Meissener  (Dresden)  Vase  from  J.  Double's  Collection  (Jannicke). 
„     8.    Meissener  plate  from  the  year  1730  (Havard). 


Plate  329. 

(After  Dr.  Albert  Ilg,  Sammlung  kunstindustrieller  Gegenstande  des  Allerhochsten  Kaiserhauses.) 

Fig.  1 — 5.  Articles  belonging  to  the  Empress  Maria  Theresa.  These  consisted 
originally  of  53  articles  in  beaten  gold  for  the  toilet  and  breakfast  table  and  were 
manufactured  by  the  sculptor  and  goldsmith  Anton  Mathias  Joseph  Domanek,  born 
in  Vienna  1713,  died  1779. 

„  6,  and  7.  Gold  boxes,  presented  by  the  Empress  Maria  Theresa  to  Duke  Charles  of 
Lorraine.  After  having  been  in  the  possession  of  Prince  Kaunitz  and  later  on  of 
various  private  people  these  boxes  were  bought  for  the  Crown  Treasury  by 
Francis  IL  They  are  the  work  of  the  Court  Jeweller  Franz  Mack,  born  in  Tyrol 
1730,  died  1805,  the  portraits  are  from  the  artist  Antonio  Bencini,  who  became 
Court  Painter  in  1753. 

„  8.  Grotesque  figures,  appear  to  have  been  the  work  of  the  Dresden  Goldsmith 
Melchior  Dinglinger,  died   1731.     The  bodies  and  legs  are  made  of  large  pearls. 

„     9.    Sugar-tongs,  after  Martin  Engelbrecht,  Engraver,  died  1756  (Wessely). 


524 


GERMAN  ROCOCO  ORNAMENT. 


Plate  326. 


Plate  327. 


GERMAN  ROCOCO  ORNAMENT. 


525 


526 


GERMAN  ROCOCO  ORNAMENT. 


Plate  328. 


Plate  329. 


GERMAN  ROCOCO  ORNAMENT. 


527 


528 


GERMAN  ROCOCO  ORNAMENT. 


Plate  330. 


GERMAN  ROCOCO  ORNAMENT. 


529 


Plate  330. 

(Village  Rococo  in  Upper  Bavaria.) 

Fig.  1.     Window    in    Durchholzen    near   Walchsee   (Otto    Aufleger,    Bauernhauser    aus 

Oberbayern). 
„     2.     Top  of  wardrobe  from  the  Aiblinger  District,  dating  from  the  year  1765  (Zell, 

Bauernmobel). 
„     3.    Side  ot  a  chest  of  drawers  in  Rottach  near  Tegernsee  (Franz  Zell,  Bauern- 

m5bel  aus  dem  Bayrischen  Hochland). 
„     4.     Cupboard  from  the  Grafing  District,  from  the  year  1770  (Zell). 
„     5.    Chest  from  Rinning  near  Ebersberg,  from  the  year  1756  (Zell). 


Lady's  Shoe  (Hefr.er-Alteneck). 


.SPELTZ,  Styles  of  Ornament. 


34 


530 


ENGLISH  ROCOCO  ORNAMENT. 


Plate  331. 


ENGLISH  ROCOCO  ORNAMENT.  53 1 


Rococo  Ornament  in  England 

(Chippendale  Style). 

In  the  18th  century  Art  in  England  was  influenced  more  by  Italy  than  by  France  and 
consequently  the  Rococo  Style  did  not  take  much  hold  in  the  country. 


Plate  331. 

(From  Chippendale,  Gentleman  and  Cabinet  Maker's  Director,  1762.) 

Fig- 

1. 

Ribband-back  chair. 

l» 

2. 

Oval  glass  frame. 

)» 

3. 

Design  for  a  chair. 

)» 

4. 

„       for  a  frame. 

f ) 

5. 

„       for  a  chimney-piece. 

j» 

6, 

7,  and  8.    Schemes  for  frets. 

Fig. 

1. 

»» 

2. 

jy 

3. 

)> 

4. 

»f 

5. 

Plate  332. 

Mahogany  bookcase  of  Chippendale  period  (Chancellor). 

Design  for  a  bed,  by  Chippendale. 

Chair  of  the  Chippendale  period  (Chancellor). 

Design  for  lantern,  by  Chippendale. 

Chair  with  cabriole  legs  of  the  Chippendale  period  (Chancellor), 


Plate  333. 

(From  Chippendale,  Gentleman  and  Cabinet  Maker's  Director,  1762.) 

Fig.   1.     Cabinet  designed  by  Chippendale. 

2.     Mouldings  of  a  Cabinet  designed,  by  Chippendale. 
„      3.     Design  for  cabinet,  by  Chippendale. 
„     4.  „       for  brass  handle. 

„     5.         „       for  brass  escutcheon. 
„     6,  ;ind  7,  12,  and  13.    Glass  doors. 
„     8,  and  11.    Design  for  lamp  stands,  by  Chippendale. 
„     9.    Design  for  Pedestal,  by  Chippendale. 
„    10,         „       for  upperpart  of  chimney-piece,  by  Chippendale. 


34* 


532 


ENGLISH  ROCOCO  ORNAMENT. 


Plate  332. 


Plate  333. 


ENGLISH  ROCOCO  ORNAMENT. 


533 


COLONIAL  STYLE  ORNAMENT 
IN  THE  UNITED  STATES. 


It  is  evident  that  the  Art  of  a  new  country  h"ke  the  United  States  must  be 
in  most  intimate  connection  with  the  style  of  Art  which  predominates  in  the 
original  country  of  the  artist.  This  is  the  reason  why  Styles  of  almost  all  the 
European  States  were  originally  represented  in  America.  After  a  time,  however, 
all  these  different  styles  became  united  with  one  another  forming  themselves  into 
the  so-called  Colonial  Style.  The  buildings  erected  in  America  from  1725  to 
1775  correspond  somewhat  to  the  Queen  Anne  and  Georgian  Styles  in  England, 
a  typical  example  of  the  symmetrical  construction  of  this  epoch  being  Craigie 
House,  Cambridge  which  dates  from  the  year  1775.  Churches  and  Meeting 
Houses  were  constructed  after  examples  by  Sir  Christopher  Wren.  The  best 
country  houses  were  those  found  in  Virginia  and  Maryland,  while  in  Florida  and 
California,  on  the  other  hand,  the  Spanish  Renaissance  style  predominated. 

From  the  declaration  of  Independence  onwards,  the  Style  in  America  became 
of  a  more  monumental  description  but,  after  the  fall  of  Napoleon,  all  the  various 
historical  styles  in  fashion  in  Europe  were  also  included. 

Notwithstanding  the  European  reminiscences  which  they  contain,  the  artistic 
creations  of  the  18*"^  century  in  the  United  States  possess  undoubtedly  certain 
characteristic  national  traits  of  their  own. 


Plate  334. 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


535 


336 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


Plate  535. 


AMERICAN  COLONIAL  STYLE  ORNAMENT.  537 

Plate  334. 

(After  Goforth  and  Max  Aulay,  Details  of  American  Colonial  Style.) 

Fig.  1.  Mantel  piece  from  Upsal  Mansion  in  Germantown. 

„  2.  Bookcase  door. 

„  3.  Medallion  from  principal  cornice  of  a  gateway  in  Philadelphia. 

„  4.  Mantel  piece  from  Wisterhouse  in  Germantown. 

,,  5.  Baluster  from  Fisher  Mansion  in  Germantown. 

„  6.  Mantel  piece  of  wrought  iron  from  Hamilton  Mansion. 

7,  and  8.    Doorways  in  Philadelphia. 

„  8.  Base  of  column  illustrated  in  fig.  8. 


Plate  335. 

TAfter  Goforth  and  Mac  Aulay,  Details  of  American  Colonial  Style.) 

Fig.  1.    Gate  pier. 
„      2,  and  5.    Mantel  pieces  from  Philadelphia. 
„      3.     Dor   head   in  Main  Corridor   of  Independence  Hall   in  Philadelphia,  of  the 

year  1729. 
„     4.     Vase  from  the  same  Hall. 

6.    From  a  doorway  in  Philadelphia. 
„      7,  and  8.    Details  of  a  frame  in  the  independence  Hall  in  Philadelphia. 
„     9.    Side  of  the  Corridor  of  Independence  Hall  in  Philadelphia,  1729. 


Plate  336. 

Fig.   1.  Sideboard  (Alvan  Croker  Nye,  Colonial  Furniture). 

2.  Chest  of  drawers  (Nye). 

3.  Hall  clock  from  Hudson  (Nye). 

4.  Arm-chair  from  Brewton  House  in  Charleston  (A.  Crane  and  E.  E.  Soderholtz). 

5.  Bureau  (Ware,  The  Georgian  Period). 

6.  Chair  from  the  rooms  of  the  American  Society  in  Worcester  (Nye). 

7.  Oak  chest  (Ware,  The  Georgian  Period). 


Plate  337. 

Fig.   1,  and  2.     Windows  of  Entrance  Hall  in  Arnold  Mansion,  Mount  Pleasant  (Goforth 
and  Mac  Aulay). 

3,  Hepplewhite  chair  (Nye). 

4,  and  6.    Sofa  (Nye). 

5,  and  7.     Backs  of  chairs  (Nye). 

8.  Sofa  (Nye). 

9.  Door  in  Arnold  Mansion,  Mount  Pleasant,  1761  (Goforth  and  Mac  Auley). 

10.  Chair  in  the  rooms  of  the  Connecticut  Historical  Society,  Hartford  (Nye). 

11.  Chair  in  Brewton  House,  Charleston  (Crane  and  Soderholtz). 


538 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


Plate  336. 


Plate  337. 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


539 


540 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


Plate  338. 


Plate  339. 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


541 


-4  HALL  CORNICE 


1 

1 

l<V 

:  303^5: 

jia>0^ 

1 

i 

"^ 

!                                                 C 

1 — 
i 

-tt 

■f 

DOOR  TRIM 


Measured  by  Claude  Fayette  Bragdon  92 


542 


AMERICAN  COLONIAL  STYLE  ORNAMENT. 


Fig. 


Plate  338. 

(After  Edward  A.  Crane  and  E.  E.  Soderholtz,  Examples  of  Colonial  Architecture 

in  South  Carolina  and  Georgia.) 

1.  Mantel  piece  in  Corn  House  in  Charleston,  from  the  year  1790. 

2.  Iron  gate  from  S.  Michael's  Churchyard  in  Charleston. 

3.  Ceiling  in  Gordon  House,  Savannah,  Georgia,  built  in  1800. 

4.  Stair  balusters  in  Brewton  House  in  Charleston,  built  in  1760. 


Plate  339. 


(After  William  Rotch  Ware,  The  Georgian  Period.) 
Mantel  pieces  from  the  Pincre  House,  Salem,  Mass. 


Door  (Goforth  and  Mac  Auley). 


Frontispiece  by  Carlo  Lasinio,  draughtsman  and  engraver,  1789  (Hirth). 


544 


18TH  CENTURY  ORNAMENT. 


The  Classical  Revival  of  the  IS*''  century. 

The  excavations  in  Herculaneum  and  Pompeii  commenced  in  1738,  but  at 
first  very  slowly  proceeded  with,  resulted  in  discoveries  which  stirred  up  the 
interest  in  ancient  classic  art  and  brought  new  life  to  it.  This  was  accentuated 
by  the  publication  of  Piranesi's  engravings  in  Italy  and  in  England  by  those  of 
Wood  on  the  ruins  of  Palmyra  aud  Baalbek  (1757 — 59)  and  by  Robert  Adam 
on  the  palace  of  Spalato  in  1764.  These  two  latter  revealed  the  existence  of 
the  remains  of  Imperial  Rome,  other  than  those  in  the  Eternal  City,  and  led  to 
a  further  revival  of  classic  art  not  so  much  in  Italy  as  in  foreign  countries,  and 
more  especially  in  England  where  the  works  were  published.  Accustomed  only 
to  the  copybooks  of  the  Italian  theorists,  the  architects  found  a  new  field  and 
although  the  buildings  discovered  belonged  to  a  decadent  period,  they  were  at 
all  events  purer  in  style  and  much  more  magnificent  than  the  phases  of  the 
Later  Renaissance  and  the  Rococo.  In  England  under  the  direction  of  Robert 
and  James  Adam  and  of  Sir  William  Chambers,  the  new  revival  superseded  that 
which  is  generally  known  as  the  Queen  Anne  Style,  the  quiet  and  unpretentious 
architecture  of  the  commencement  of  the  IS^'^  century.  In  France  it  influenced 
the  architecture  and  industrial  art  during  the  reign  of  Louis  XVI.  creating  a  style 
to  which  that  monarch's  name  is  attached  and  this  style  introduced  then  into 
Germany,  led  to  what  is  known  as  the  Zopfstil  period  of  which  the  Palace  at 
Potsdam,  sometimes  called  the  German  Versailles,  which  was  built  in  1763 — 69, 
by  the  architect  Carl  von  Gothard  (1738 — 1802)  is  the  best  exponent.  Of  this 
style  the  examples  from  Freising  and  Schonbrunn  (plate  352),  show  a  return  to 
classic  forms  differing  widely  from  the  Rococo  style  which  existed  in  the  first 
half  of  the  18^'^  century  throughout  Germany  and  the  Netherlands.   • 


Fan  in  the  Carnavalet  Museum,   Paris.    Made  ai  the  death  of  Mirabeau  (L'art  pour  tous) 


ITALIAN  18TH  CENTURY  ORNAMENT.  ■  545 


18*''  century  Ornament  in  Italy. 

Although  the  Rococo  style  originated  in  Italy,  the  tendency  in  that  country  was  towards 
the  further  development  of  the  Later  Renaissance,  which  in  the  Palace  at  Caserta  (1752—70) 
by  Vanvitelli  (1700 — 78)  was  reduced  to  its  lowest  ebb  as  it  would  be  difficult  to  find  a  more 
monotonous  design  than  that  immense  structure.  In  the  decoration  of  their  interiors,  and  in 
furniture,  however,  owing  to  the  genius  of  Piranesi  (1704 — 84)  and  followed  by  Simonetti 
(1715—85),  Piermarini  (1734—1808)  and  Guiseppe  Soli  (1745—1822),  a  classic  revival  took 
place,  not  altogether  however  without  some  rococo  influence  as  may  be  noticed  in  the  mantel- 
piece on  plate  340. 


Plate  340. 


Mural    decoration    from    the    work   "Diverse   maniere   d'adornare    i    cammini"    by 
Giovanni  Battista,  Piranesi,  architect  draughtsman  and  etcher. 


Plate  341. 

Fig.  1.    Table  by  Guiseppe  Soli,  architect  and  painter.    From  the  work   "Omamentale 

EntwUrfe  filr  Mobel  im  Stile  Louis'  XVI."  (Hirth). 
„     2.    Panel  from  a  ceiling  by  Albertolli  (Schoy,  L'art  de  I'epoque  Louis  XVI.). 
„     3.    Bracket  candlestick  by  Albertolli  (Schoy). 

„     4.    Design  for  wall  decoration  with  table  and  clock,  by  Piranesi  (Hirth). 
„     5.    Chest  of  drawers  by  Soli  (Hirth). 


Plate  342. 

(Designs  by  Giocondo  Albertolli  after  Schoy,  L'art  de  I'epoque  Louis  XVI.) 

Fig.  1.  Ceiling  In  the  palace  of  Prince  Belgioso  d'Este  in  Milan. 

„  2.  Comer  ornament  of  the  same. 

„  3.  Candlestick. 

„  4.  Interior  decoration. 

„  5.  Study  for  centrepiece. 


SPELTZ.  Styles  of  Ornament.  35 


546 


ITALIAN  18TH  CENTURY  ORNAMENT. 


Plate  340. 


Plate  341, 


ITALIAN  18TH  CENTURY  ORNAMENT. 


547 


/&^^^^^^^^i^i^^^*^^i^i^^^^^^^i^^^^^^U^^^'^:*^-Ai^y^^^. 


3LVJ'Kis).fjm9m!9;m9m>wm-ws:9:.'v.-y/iv«iw.9i\'''.9.vm 


35" 


548 


ITALIAN  18TH  CENTURY  ORNAMENT. 


Plate   342. 


FRENCH  18TH  CENTURY  ORNAMENT.  549 

18th  century  Ornament  in  France. 

(Louis  XVL  Style.) 
The  principal  supporters  and  patrons  of  this  style,   amongst  others,   were  Constant 
d'Yvri,  and  Jacques  Germain  Soufflot.    The  art  of  the  cabinet  maker  flourished  in  a  specially- 
unexpected  manner  under  this  style,  as  did  also  the  Goldsmith's  art  and  porcelain  manufacture. 


Plate  343. 

(After  Cesar  Daly,  Motifs  historiques  d'architecture  et  de  sculpture.) 
Fig.  1,  and  2.    Keystone  of  an  entrance  porch  in  Paris. 
„     3,  4,  and  7.    Console  brackets  in  Paris. 

„     6,  and  6.     Detail  of  part  of  the  facade  of  the  Palais  Royal,  Paris;  towards  the 
garden.  

Plate  344. 

(After  C^sar  Daly,  Motifs  historiques.) 
Fig.  1.    Over  door  of  an  hotel  in  the  Rue  de  Francs-Bourgeois  No.  10,  Paris. 
„     2.    Decorated  door  of  an  hotel.  Rue  de  Varenne  No.  89,  Paris. 
„     8.    Part  of  door  of  a  house,  Route  de  Chatillon  No.  17,  Paris. 
„     4.    Entrance  door  in  the  Hotel  des  Monnaies,  Paris. 
„     5.    Door  crest  from  Paris. 


Plate  345. 

(After  C^sar  Daly,  Motifs  historiques ) 

Fig.  1.    JVIantel  piece  from  a  country  house  In  Blanquefort,  Gironde. 
„     2.    Drawing-room  decoration  of  an  hotel  in  the  Rue  St.  Charles,  Bordeaux. 


Plate  346. 

Fig.  1.  Balcony  in  the  Rue  Royale,  Versailles  (Daly). 

„  2.  Balcony  from  Paris  (Daly). 

„  3.  Door  and  frame  in  wrought  steel  from  Palais  de  Justice,  Paris  (Daly). 

„  4.  Vase  from  an  engraving  by  Lalonde,  draughtsman  and  designer  in  Paris  (Hirth). 

„  5.  Pommel  of  stick  by  the  same  (Hirth). 

„  6.  Candlestick  by  J.  P.  Forty,  brass-founder  and  chaser  in  Paris,  1775 — 1790  (Hirth). 


Plate  347. 


Fig.  1.    Sofa  of  painted  wood  covered  with  embroidered  silk  (Bajot). 


o 


Small  table  of  mahogany  with  gilt  chased,  copper  mountings  (Bajot). 

3.  Cabinet  (Havard). 

4.  Tripod  of  bronze  gilt  (Havard). 

5.  Design  for  drawing-room  decoration,  made  for  the  Marquis  de  Sillery  after 
2  drawing  by  Rousseau  de  la  Rottiere.  In  the  South  Kensington  Museum  (Champeaui). 

6.  Design  for  chased  door  lock,  by  Lalonde  (Hirth). 


550 


FRENCH  18TH  CENTURY  ORNAMENT. 


Plate  343. 


Plate  344. 


FRENCH  18TH  CENTURY  ORNAMENT. 


551 


552 


FRENCH  18TH  CENTURY  ORNAMENT. 


Plate  345. 


Plate  346. 


FRENCH  18TH  CENTURY  ORNAMENT. 


553 


554 


FRENCH  ISTH  CENTURY  ORNAMENT. 


Plate  347. 


Plate  348. 


FRENCH  18TH  CENTURY  ORNAMENT. 


556 


FRENCH  18TH  CENTURY  ORNAMENT. 


Plate  349. 


Plate  350. 


FRENCH  18TH  CENTURY  ORNAMENT. 


557 


558 


FRENCH  18TH  CENTURY  ORNAMENT. 


Fig. 


1. 
2. 
3. 

4. 

5. 
6. 
7. 


Plate  348. 

Fire  screen  of  embroidered  silk  in  a  frame  made  of  carved  and  gilt  wood  (Bajot). 

Console  table  in  wood  gilt  (Bajot). 

Salon  decoration  of  the  Hotel  d'Hallwill,  in  carved  wood.    Drawn  by  Architect 

Ledoux  (Champeaux). 

Hanging  lamp  (L'art  pour  tous). 

Chair,  showing  transition  to  the  Empire  Style  (L'art  pour  tous). 

Chased  door  bolt  by  Lalonde  (Hirth). 

Bronze  door  mantle  (Champeaux). 


Plate  349. 

(After  Schoy,  Art  Louis  XVL) 
Fig.   1,  and  2.    Stand  and  table  by  Jean  Francois  de  Neuf forge. 
3,  4,  9,  and  10.     Doors  by  Antoine  Joseph  Rouvo. 

5,  and  12.    Arm  chair  and  sofa  by  Bouch6  Le  Jeune. 

6,  and  7.    Furniture  feet  by  Neufforge. 
8.    Mirror  frame  by  P.  Ranson. 

11.    Candelabrum  by  Neufforge. 


Fig- 


Plate  350. 

1.  Window  Valence  of  embroidered  silk  in  the  Musee  des  Arts  decoratifs  (Champeaux). 

2.  Driving  saddle  of  leather  with  bronze  gilt  ornaments  (Hirth). 

3.  and  4.    Knife  handle  and  lid  of  box  after  Lalonde  (Hirth). 
5,  and  6.    Dress  of  embroidered  silk  (Champeaux). 

7,  and  8.    Aigrettes  from  the  work  "Nouveau  recueil  de  parures  et  joaillerie", 
Paris  1764,  by  Poujet  fils,  engraver  and  goldsmith  in  Paris. 


m^  'm 


^1  IX  '^ 


Monogram  In  precious  stones,  by  Ranson  (Schoy). 


GERMAN  18TH  CENTURY  ORNAMENT.  559 

IS^**  century  Ornament  in  the  Netherlands. 
Plate  351. 

(Designs  for  precious  stones  by  L.  van  der  Cruycen,  after  Schoy,  L'art  Louis  XVI.) 

Fig.  1.    Designs  for  corsage. 
„     2,  and  7.    Brooches. 
„     3.    Necklace. 
„     4,  and  6.    Ear-rings. 
„     5,  and  8.    Pendants. 


IS***  century  Ornament  in  Germany. 

(Zopfstil  Ornament.) 

About  the  year  1771  the  Rococo  style  in  Germany  gave  way  before  the  newly  awakened 
Classicism,  this  result  being  very  probably  due  to  Italian  and  French  influences. 


Plate  352. 

(After  Moritz  Heider,  Louis  XVI.  und  Empire.) 

Fig.  1.  Detail  of  part  of  a  dwelling-house  in  Freising,  Vienna. 

„  2.  Entrance  gate  in  the  Gloriette  in  SchSnbrunn. 

„  3.  Panel  from  the  same. 

„  4.  Vase  from  Schonbrunn  Parlt. 

„  5.  Door  of  a  house  in  the  Freundgasse,  Vienna. 


Plate  353. 

(After  Moritz  Heider,  Louis  XVI.  und  Empire.) 

Fig.  1,  2,  and  3.    Pulpit  in  the  Lichtental  church  Vienna,  Rossau.    In  wood  painted 

and  partly  gilt. 
„     4.    Hanging  lantern  in  Palace  Schwarzenberg,  Vienna. 
„     5.    Lamp  from  the  Wieden  Freihaus,  Schleifmuhlengasse,  Vienna. 
„     6.    Lamp  in  the  upper  Augarten  Strasse,  Vienna. 
„     7.    Stove  in  the  Primate's  Palace,  Pressburg,  of  glazed  terra-cotta,  partly  gilt. 


560 


DUTCH  18TH  CENTURY  ORNAMENT. 


Plate  351, 


Plate  352. 


GERMAN  18TH  CENTURY  ORNAMENT. 


561 


SPELTZ    Styles  of  Ornament 


562 


GERMAN  18TH  CENTURY  ORNAMENT. 


Plate  353. 


GERMAN  18TH  CENTURY  ORNAMENT. 

Plate  354. 


563 


Fig.   1.    Mantel  piece  in  the  castle  at  Mannheim  (Luthmer,  Innenraume  etc.  im  Louis  XVI. 

und  Empirestil). 
„     2.    Bracket  candlestick  of  carved  wood,  from  the  Rein  Monastery  in  Steiermark 

(Heider). 
„     3—6.    Window  grating  and  balconies  in  Vienna  (Heider). 


Clock  (Heider). 


36* 


564 


GERMAN  18TH  CENTURY  ORNAMENT. 


Plate  354. 


ENGLISH  18TH  CENTURY  ORNAMENT.  565 


IS***  century  Ornament  in  England. 

(The  Adam  style.) 


In  accordance  with  the  conservative  character  of  the  Enghsh  people  the  Palladian  style 
which  was  worked  out  and  developed  by  many  eminent  architects  in  public  buildings,  was 
adhered  to  up  to  the  third  quarter  of  the  18th  century,  and  the  Louis  XVI.  style  did  not  take 
any  root  in  England.  The  principal  founder  of  the  classical  revival  was  the  architect  Robert  Adam 
(1723—1792)  and  his  brother  James.  The  former  was  a  most  prolific  designer  not  only  of 
architectural  works  but  of  furniture  and  decoration,  so  that  he  is  virtually  the  creator  of  a  new 
style  known  by  his  name,  to  which,  after  a  Greek  and  a  Gothic  revival,  there  is  now  a 
tendency  to  return.  Although  as  a  rule,  the  work  of  Adam  was  inspired  by  Roman  art  and 
his  designs  for  ceilings  show  how  closely  he  had  studied  the  stucco  decoration  in  the  tombs 
at  Rome  and  in  Hadrian's  villa  atTivoli;  there  are  occasions  when  he  displays  considerable 
acquaintance  with  Greek  art  as  in  Plate  357,  representing  work  in  Sion  House,  built  1761—64, 
which  suggests  that  he  must  have  had  access  to  Stuart's  drawings  which  were  not  published 
till  1769  by  the  Dilettanti  Society. 


After  designs  by  R.  and  J.  Adam. 
Plate  355. 

(Doric  Order  after  Robert  Adam.) 

Fig.  1,  and  2.    Entrance  hall  to  Shelburne  House  in  Berkeley  Square. 
„     3.    Door  frame  in  same. 
„     4.    Dado  from  same.  

Plate  356. 

(Ionic  Order  after  Robert  Adam.) 

Fig.   1,  and  2.    From  front  of  Slielburne  House,  Berkeley  Square. 
..     3.    Pilaster  from  Lord  Mansfield's  Villa  at  Kenwood. 


Plate  357. 

(Ionic  Order  after  Robert  Adam.) 

Fig.   1.    From  the  attic  storey  over  the  entrance  hall  of  Sion  House,  residence  of 
the  Duke  of  Northumberland. 
„     2,  3,  and  6.     Column  and  entablature  at  Sion  House. 
„     4,  and  5.    Door  way  of  the  same. 


Plate  358. 


Fig.  1—3,  5,  and  6.    Details  from  the  entrance  gateway  at  Sion  House. 
„     4.    Frieze  from  Luton  House,  country  seat  of  the  Earl  of  Bute. 


566 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  355. 


mnmnrmTifinmminnnnnnmnriiirrmmmfii^^ 


5?^^^^>^^;^^^^^s^^t^^^;^Si5A^gg§*5^?^^^s5^5^^5^ 


MJ\JUU\JJ\J\J\AJUJJJJU\J\JAMJJ 


''     ■  '  I .  I     ■■   -  -  ■  —  ■  .■■■■■■         I        .  .        ■  -  J 


F 


fvl 


M 


M 


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tH3ZXZXLA 


mMMlLliS 


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f> 


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'•u^imw^t^^ff^Mm^jk"^^ 


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2. 


Plate  356. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


567 


>^ 


LfiATUULrLrLnjLrLTLrLrLrLArLrLrLrL 


^ 


568 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  357. 


A/df'O 


MJLfUU 


sp^d^fier^^sii^p^iJiF^yts 


TlUIJM1UMJIU4S 


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Plate  358. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


569 


570 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  359. 


i^iiniin/nj .v. ;  a; ,'////// ,v>l'  Ji.'J.  //r/JTT? 


LMAJLFlAJm 


nrTTTUimj^um i  ■iiiiiwiiiiifi 


LfLrLnJJJJLfLnJLLfLfUL 


^mMMmm*^. 


\mM\Miinjj'xiJ'xi'^--jiK\uAV)Au^xjJKm.}f;.m-^fiiJ 


Plate  360. 


ENGLISH  ISTHgCENTURY  ORNAMENT. 


571 


572 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  361. 


M 


Mm.iWl/iPi.  ML  m  M\  .izoinra^'^izs^^- .w  J^'j- »^  tf •  ""^  ^^^  ^v  ^^t.  Jy*-  i^'^JULTUrs^.  jn^itjL m mj^;ivjf.>x^j^  Jl^J''>'.  -^;i>^j^/A ;i^ 


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F  r^  r  r:  r  r  r^ 


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Ayi.i-i'iKiihun'ri^n-4-ii>i-M--iAu^r-i'mkU4A^jyMiH'm'):yu.^^^^^^^ 


ENGLISH  18TH  CENTURY  ORNAMENT.  573 

Plate  359. 

Fig.  1.    Capital  from  the  first  storey  of  the  staircase  in  Luton  House. 
„     2,  and  3.    Corinthian  Order  by  Robert  Adam. 


Plate  360. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  I.    Moulding  round  the  bas-reliefs  in  the  hall  of  Sion  House. 
„     2,  3,  8,  and  9.    Decoration  of  the  attic  window  in  the  entrance  Hall,  Sion  House. 
„     4,  and  7.    Greek  Order  in  the  dining-room  of  the  house  of  Sir  Watkins  Williams 

Wynn,  St.  James's  Square. 
„     5.    Vase  on  the  porter's  lodge,  Sion  House. 
„     6.    Decoration  of  the  plinth  of  the  large  niche  in  the  hall  of  Sion  House. 


Plate  361. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  1,  and  2.    Design  of  the  Order  for  Carlton  House. 
„     3.    Decorative  vase  in  Sion  House. 
„     4,  and  5.    Mantel  piece  at  Sion  House. 


Plate  362. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  1,  and  4.    Trophies  in  Sion  House. 
„     2,  3,  and  5.    Frame  work  of  window  in  the  entrance-hall,  Sion  House. 


Plate  363. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  1.    Mantel  piece  in  St.  James's  Palace. 
„     2,  and  3.    Organ  in  the  house  of  Sir  Watkins  Williams  Wynn. 


Plate  364. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  1.  Celling  of  the  entrance-hall  in  Sion  House. 

„  2.  Ceiling  of  the  dining-room  of  the  house  of  Sir  Watkins  Williams  Wynn. 

„  3.  Ceiling  in  Sion  House. 

„  4.  Ceiling  of  the  music-room  In  the  house  of  Sir  Watkins  Williams  Wynn. 


574 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  362. 


^m^MEim^mMnMmi£M;:^s:MmMM^^^M 


Plate  363. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


575 


576 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  364. 


Plate  365. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


577 


SPELTZ,  Styles  of  Ornament. 


37 


578 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  366. 


ENGLISH  18TH  CENTURY  ORNAMENT.  579 

Plate  365. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.   1,  and  2.    Plan  and  elevation  of  design  for  table  centre-piece. 
„     3.    Design  for  frame  and  Royal  coat  of  arms. 


Plate  366. 

(After  The  Decorative  Worlis  of  Robert  and  James  Adam.) 

Fig.  1.    Ceiling   of  a  room,   called  the  "Japanned  Room"  in  the  Queen's  House, 

from  a  design  by  Adam. 
„     2.    Bridge  in  the  Park  of  Sion  House. 


Plate  367. 

(After  The  Decorative  Works  of  Robert  and  James  Adam.) 

Fig.  1.  Sedan  chair,  from  a  design  by  Adam,  prepared  for  the  King. 

„  2.  Console  table  with  mirror  over. 

„  3.  Window  mantle. 

„  4.  Grate  in  brass  and  steel,  in  Library  of  Luton,  1764. 


Plate  368. 

Fig.  1.    Tripod  and  vase  for  candles  (Adam). 
„     2.    Pier  glass  (Adam). 
„     3.    Door  knocker  from  the  house  of  Sir  Watkins  Williams  Wynn,  St.  James's 

Square  (Adam). 
„     4,  and  5.    Sugar  bowl  and  coffee-pot  of  the  year  1770  (Champeaux). 


Plate  369. 

Fig.  1,  and  2.    Piano  in  wood  of  various  colours,  made  in  London  for  the  Empress 

of  Russia  (Adam). 
„     3.    Design  for  a  panel  by  Adam. 
„     4.    Window  mantle    Adam). 
„     5.    Top  of  chest  of  drawers  in  the  palace  of  the  Countess  of  Derby  (Adam), 


Furniture  made  from  designs  by  Thomas  Sheraton. 
(After  Sheraton,  Cabinet  maker  and  Upholsterer's  Drawing  Book,  1791—93.) 

Plate  370. 

Fig.  1.    Buffet  or  Sideboard. 
„     2.    Toilet  table. 
„     3.    Fire-screen. 

37* 


580 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  367. 


Plate  368. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


581 


582 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  369. 


J^/ft  -itiJ,     i. 


Plate  370. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


583 


584 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  371. 


'Vr''-^^V\  f^'   ,  ^-r':^^^ 


ENGLISH  18TH  CENTURY  ORNAMENT.  585 


Fig.  4.  Inlaid  table  top. 

„  5.  Acanthus  ornament. 

„  6.  Arm  chair. 

„  7.  Sofa. 


Plate  371 


Fig.  1.    Panel  decoration. 


a 


2—5.    Details  of  furniture. 

6.  and  9.    Window  mantles. 

7.  Head  of  doorway. 

8.  Frieze  in  bas-relief. 


Plate  372. 


Fig.  1—3.    Designs  for  Chair  backs. 

„  4.    Center  for  a  Pier  table  to  be  painted  or  executed  in  Inlay. 

„  5.    Design  for  a  Secretarire  and  Bookcase. 

„  6.    Design  for  a  Cabinet. 


Furniture  made  from  designs  by  A.  Hepplewhite. 
(After  Hepplewhite,  The  Cabinet  maker  and  Upholsterer's  Guide,  1789—94.) 

Plate  373. 

Fig.  1.    Canopy  bed. 
„     2.    Writing  table  with  cupboard  over. 
„     3.    Chair. 
„     4.    Terminal  vase. 
„     5 — 9,  11 — 17.    Cornices  for  furniture. 
„    10.    Glass  door  of  cupboard. 


Work  prepared  from  various  designs. 

Plate  374. 

Fig.  1.     Design  for  ceiling  by  Pergolesi. 

2,  Mantel  piece  by  G.  Richardson. 

3,  and  6.    Panels  by  Pergolesi. 

4,  Mantel  piece  with  mirror  by  William  Thomas. 

5,  Emblem  by  Pergolesi. 
7.    Ceiling  by  G.  Richardson. 


586 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  372. 




C 

1S^ 

^-^^^ 

r 

( 

1 

# 

f 

\ 

nW= 

J 

1. 

1 

T~~:i3^ 


i^ 


Plate  373. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


587 


588 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  374. 


Plate  375. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


589 


590 


ENGLISH  18TH  CENTURY  ORNAMENT. 


Plate  376. 


ENGLISH  18TH  CENTURY  ORNAMENT. 


591 


Plate  375. 

(After  Bailey  Scott  Murphy,  English  and  Scottish  Wrought  Ironwork.) 

Fig.   1.    Wrought-iron   gate   in   screen  to  Dining  Hall,    Queen's   College,    Cambridge, 
round  which  in  the  year  1734  the  wood  work  in  the  prevailing  Renaissance  style 
was  carried  out. 
„     2,    Fan-light  of  a  gateway  in  All  Soul's  College,  Oxford,  the  work  of  Hawksmoor. 


English  18^^  Century  Pottery. 

Plate  376. 

(After  Examples  of  Early  English  Pottery  by  John  Eliot  Hodgkin  and  Edith  Hodgkin.) 

Fig.   1.  Plate.    Cock  Pit  Hill  of  the  year  1734.  Black  enamel  with  bronze-coloured  flowers. 

2.  Plate,  of  the  same  origin.  Brown  glazing  with  yellow  decorations,  of  the  year  1749. 

3.  Drinking  cup  with  handles.  Sgraffito  ware,  inscribed  1764. 

4.  Jug,  Sgraffito,  inscribed  1779. 

5.  Drinking  cup  with  handles  from  Jackfield,  1760,  with  gold  ornamentations. 

6.  and  7.    Plates.    Delft  porcelain,  made  in  England,  1740. 

8.  Plate,  Staffordshire  delft,  about  1718. 

9.  Plate,  Lambeth  delft,  inscribed  1742. 


Design  for  a  bracket  candlestick  by  Adam. 


592 


EMPIRE  ORNAMENT  IN  FRANCE. 


Frieze  in  mural  painting  fPercier  et  Fontaine). 


Empire  Ornament  in  France. 

In  the  last  quarter  of  the  18'h  century,  Greek  art  commenced  to  exert  its  influence  on 
architecture  and  the  industrial  arts,  and  its  development  by  Percier  and  Fontaine  in  Paris  for 
Napoleon  I.,  resulted  in  that  phase  which  is  generally  known  as  the  style  of  the  Empire. 
Although  unable  to  supersede  entirely  the  traditional  crafts  of  the  day,  such  as  is  found  in 
the  Louis  XV.  and  XVI.  Styles,  it  created  a  demand  for  decoration  of  a  better  character, 
and  pure  architectural  forms  were  introduced  in  the  place  of  the  Rococo  scroll-work  thus 
the  Greek  Palmette  and  Acanthus,  the  egg  and  tongue,  the  guilloche  and  other  decorative 
details  came  again  into  fashion  and  extended  to  furniture  and  other  accessories,  including 
also  interior  work  and  metal  mounts. 


Work  made  from  designs  by  C.  Percier  and  F.  F.  L.  Fontaine. 


Fig. 

1. 

>> 

2. 

>l 

3. 

4. 

Plate  377. 

(After  Percier  et  Fontaine,  Recueil  de  Decorations  int^rieures.) 

Capital  and  entablature. 

Soffit  of  cornice. 

Base  of  Pilaster. 

Wall   decoration   from  the  cabinet  of  King  Joseph   of  Spain,   made  in  Paris 

from  designs  by  Percier  and  Fontaine,  and  fixed  in  the  Palace  at  Aranjuez. 


plate  377. 


EMPIRE  ORNAMENT  IN  FRANCE. 


593 


[\W 


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gSSSSSSSSSSSSSSSS^J):^aZZgZt;2222272OT 


mzizzzzzv:&:^sssssssssss$!:^jzzazz^z2zpz!22zs^ 


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SPELTZ,  Styles  of  Ornament. 


38 


594 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  378. 


Plate  379. 


EMPIRE  ORNAMENT  IN  FRANCE. 


595 


38' 


596 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  380. 


EMPIRE  ORNAMENT  IN  FRANCE.  597 

Plate  378. 

Fig.   1.    Ceiling  painting  in  a  studio  at  Paris. 


Plate  379. 


Fig.  1.    Pier  in  the  Venus  Museum  in  the  Louvre,  Paris. 
„     2.     Tribune  from  the  hall  of  the  Marshalls  in  the  Tuileries,  Paris. 


Plate  380. 


Fig.   1.    Mantel  piece  in  the  Louvre,  Paris. 
„     2,  and  3.    Mural  paintings. 
„     4.     Book  cabinet,  made  in  Paris  for  Amsterdam. 


Plate  381. 


Fig.  L  Branched  candlestick,  Paris. 

„  2.  Soup  tureen,  made  in  Paris. 

„  3.  Candelabrum,  made  in  Paris. 

„  4.  Bed  stead  and  canopy,  Paris. 


Plate  382. 

Fig.   1.    Throne  of  Napoleon  L  in  the  Tuileries,  now  destroyed. 


Plate  383. 


Fig.  L     Writing  bureau,  made  in  Paris. 

„  2,  and  3.    Table,  made  in  Paris  for  St.  Petersburg. 

„  4.    Table,  made  in  Paris  for  Count  S.  in  St.  Petersburg, 

„  5.    Arm-chair,  made  in  Paris  for  St.  Petersburg. 


Plate  384. 


Fig.   1—6,  8—13.     Furniture  mouitings  (Recueil   des  Dessins  d'ornements  d'architecture 
de  la  Manufacture  de  Joseph  Bennot  a  Sarrebourg  et  Paris). 
„     7.    Furniture  mounting  (L'art  pour  tous), 
„    14.    Upper  part  of  a  chest  of  drawers  (L'art  pour  tous). 


598 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  381, 


Plate  382. 


EMPIRE  ORNAMENT  IN  FRANCE. 


599 


600 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  383. 


Plate  384. 


EMPIRE  ORNAMENT  IN  FRANCE. 


601 


602 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  385. 


EMPIRE  ORNAMENT  IN  FRANCE. 


603 


Plate  385. 

Fig.  1,  5,  8,  11  —  13.    Furniture  mountings  (Bennot). 

„  2.    Mirror  from  a  drawing  by  P.  P.  Prudhon,  in  the  Industrial  Art  Museum,  Beriin. 

„  3.    Stand  (Beauvalet). 

„  4.    Sevres  Vase  in  Grand  Trianon,  after  a  photograph. 

„  6,  and  7.    Silver  cradle  of  the  Duke  of  Bordeaux  (L'art  pour  tous). 

,  9,  and  10.    Chairs  of  the  Directory  period  (L'art  pour  tous). 


Bureau,  made  in  Paris  (Percier  et  Fontaine). 


604 


EMPIRE  ORNAMENT  IN  FRANCE. 


Plate  386. 


EMPIRE  ORNAMENT  IN  FRANCE. 


605 


On  the  fall  of  the  Empire,  the  same  style  continued  but  was  much  inferior  both  in 
character  and  execution.  The  neogrec  movement  of  1840—60  led  to  more  refinement  in 
design,  which  after  the  Franco-German  war  tended  towards  a  revival  of  the  Louis  XIV. 
and  XV.  Style. 


Plate  386. 

Fig.   ].  Work  table,  of  the  year  1820  (Bajot). 

„     2.  Screen  in  Mahogany,  with  gilt  mountings  (Bajot). 

3.  Arm-chair  of  the  year  1820  (Bajot). 

„     4.  Console  table,  1820  (Bajot). 

„     5.  Chair,  1830  (Bajot). 

6.  Key-hole  plate  (L'art  pour  tous). 

„     7,  Pilaster  from  the  Cafe  Gaulois,  Rue  Poissonifere  No.  46,  Paris  (Thiollet  et 
H.  Roux). 


Key-hole  plate  (L'art  pour  tous). 


606  EMPIRE  ORNAMENT  IN  ITALY. 


Empire  Ornament  in  Italy. 

Although  the  Empire  Style  was  taken  up  in  Italy  later  than  in  France,  the  country  of 
its  chief  development  on  the  other  hand,  it  lasted  much  longer,  being  retained  until  the 
thirties,  when  Guiseppe  Borsato  became  its  chief  exponent,  his  work  being  however,  inferior 
to  that  of  Percier  and  Fontaine. 


Plate  387. 

Fig.    1,  and  5.    Sofa  and  arm-chair  in  Directory  Style  by  Guiseppe  Soli  (Hirth). 
2.     Sofa  for  the  Milan  cathedral,  by  Qiocondo  Albertolli  (SchoyJ. 
„     3.    Stool  in  Directory  Style,  by  Albertolli  (Hirth). 
„     4.    Perfuming  censer  in  Empire  Style,  by  Albertolli,  Milan  1790  (Hirth). 


Work  done  from  designs  by  Borsato. 


(After  Percier  et  Fontaine,  Recueil  de  Decorations  int^rieures  avec  des  supplements 

par  Joseph  Borsato.) 

Plate  388. 

Fig.  1.     Internal  decoration  in  the  Imperial  Palace  in  Venice. 
„     2.    Ceiling  painting,  carried  out  in  the  year  1817  for  Count  Albriggi  in  Venice. 
3.     Mantel  piece  in  the  Royal  Imperial  Palace  in  Venice. 


Plate  387. 


EMPIRE  ORNAMENT  IN  ITALY. 


607 


."HjV.allU  ^U    '"ilvltMlli  ■,,|,\U,I  I|,.(|UII1|||(|U 


608 


EMPIRE  ORNAMENT  IN  ITALY. 


Plate  388. 


Plate  389. 


EMPIRE  ORNAMENT  IN  ITALY. 


609 


SPELTZ,   Styles  of  Ornament. 


39 


610 


EMPIRE  ORNAMENT  IN  ITALY. 


Plate  389. 

Fig.   1.    Internal  decoration  of  reception  room  in  tiie  Royal  Palace  in  Venice,  of  the 

year  1834. 


Silver  chandelier  in  the  church  of  S.  Giorgio  de  Greci,  Venice 

(Percier  et  Fontaine). 


EMPIRE  ORNAMENT  IN  GERMANY.  611 


Empire  Ornament  in  Germany. 

Towards  the  close  of  the  18th  century,  at  a  time  when  the  imitation  of  everythmg 
French  grew  to  be  a  passion  amongst  the  Germans,  the  German  Rococo  and  Louis  XVI.  Styles 
which  were  imitations  of  the  French  gave  way  to  imitations  of  the  new  French  Empire  Style. 
This  change  was  furthermore  favoured  by  the  political  conditions  which  ruled  at  the  period. 


Plate  390. 

(After  Moritz  Heider,  Louis  XVI.  und  Empire.) 

Fig.  1.  Parquetry  floor  in  Schwarzenberg  Palace,  Vienna. 

„  2.  Stove  recess  in  the  same  palace. 

„  3.  Stove  from  the  Monastery  of  Rein  in  Steiermark. 

„  4.  Ceiling  decoration  in  Modena  Palace,  Herrengasse,  Vienna. 


Plate  391. 

Fig.  1.    Sofa  in  the  collection  of  Duke  Karl  Theodor  of  Bavaria  in  Munich  (Luthmer, 
Biirgerliche  Mobel). 
„     2,  4,  and  6.    Sofa,  stool,  and  small  table  in  the  appartments  of  the  Grand  Duchess 

of  Modena,  Munich  (Luthmer). 
„     3,  and  7.    Bed  and   cupboard  in   possession   of  the  art  dealer  Hugo  Helbing, 

Munich  (Luthmer). 
„     6.    Piano  in  mahogany  with  gilt  bronze,  made  by  M.  Seiffert  in  Vienna,  1790 
(Bajot). 


Plate  392. 

Fig.   1.    Mirror  and  console  table  in  the  Bavarian  National  Museum,  Munich  (Luthmer, 
Biirgerliche  Mobel). 
„     2.    End  of  a  sofa  in  the  Royal  Residence  in  Stuttgart  (Luthmer). 
„     3.    Toilet  looking-glass  from  the  collection  of  Duke  Karl  Theodor  of  Bavaria 

(Luthmer,  Burgerliche  Mobel). 
„     4.    Mantel  piece  in  the  Munich  Museum  (Luthmer,  Burgerliche  Mobel). 


39* 


612 


EMPIRE  ORNAMENT  IN  GERMANY. 


Plate  390. 


Plate  391. 


EMPIRE  ORNAMENT  IN  GERMANY. 


613 


614 


EMPIRE  ORNAMENT  IN  GERMANY. 


Plate  392. 


Plate  393. 


EMPIRE  ORNAMENT  IN  GERMANY. 


615 


616 


EMPIRE  ORNAMENT  IN  GERMANY. 


Plate  393. 

Fig.   1.     Branch  bracket  candlestick  in  bronze  gilt  (Heider). 
„     2.    Toilet  looking-glass  with  bronze  frame  (^Heider). 

„     3.    Bronze  vase  with  the  Dance  of  the  Hours,  in  the  Royal  Residence  in  Stutt- 
gart (Luthmer). 
„     4.     Branch  candlestick  of  bronze  gilt  (Heider). 
„     5,  and  6.    Balcony  railings  in  Wickenburger  Gasse,  Vienna  (Heider). 


t 


i^^^^SS^© 


Window  of  the  Husar  Inn  in  Garmisch, 
Upper  Bavaria 

(Zell,  Bauernhauser  im  bayerischen  Hochland). 


BIEDERMEIER  ORNAMENT  IN  GERMANY. 


617 


Biedermeier  or  old  fashioned  Style  in  Germany. 

As  a  reaction  from  the  elaborate  ornament  of  the  Louis  XVI.  and  Empire  styles,  a  new 
style  arose  in  which  work  of  the  greatest  simplicity  and  commonplace  form  the  chief  characte- 
ristics, this  is  known  in  Germany  as  the  Biedermeier,  or  old  fashioned  style. 

Plate  394. 

Fig.   1.    Bed  of  Hungarian  oak,  of  the  year  1830  (Joseph  Folnesics,  InnenrMume  und  Haus- 
rat  der  Empire-  und  Biedermeierzeit). 
„     2,  and  3.     Chairs  from  Vienna,  1820—30  (Folnesics). 
„     4.    Table  from  tlie  castle  of  Obernzenn  in  Unterfranken  (Luthmer). 
„     5.    Sofa  in  possession  of  Baron  von  Pollnitz,  Bamberg  (Luthmer). 
„     6,  and  7.    Sewing-tables  from  Vienna,  1820  (Folnesics). 


Silk  stuff.    After  the  original  in  the  Industrial  Museum,  Berlin. 


618 


BIEDERMEIER  ORNAMENT  IN  GERMANY. 


Plate  394. 


Plate  395. 


BIEDERMEIER  ORNAMENT  IN  GERMANY. 


619 


620 


NEOGREC  ORNAMENT  IN  GERMANY. 


Plate  396. 


NEOGREC  ORNAMENT  IN  GERMANY. 


621 


Plate  395. 

Fig.   1,  and  2.    Samples  of  cotton.  After  the  originals  in  the  Industrial  Art  Museum  in  Berlin. 
„     3.    Cupboard  from  Unterammergau,  1820  (Zell). 

„     4—7.    Sample  of  material  for  furniture  covering.   After  the  original  in  the  Industrial 
Art  Museum,  Berlin. 


Neogrec  Ornament  in  Germany. 

n  the  period  following  the  fall  of  the  Empire,  Art  made  fresh  progress  in  Germany, 
in  consequence  of  the  revival  of  art  and  the  exceptional  genius  of  K.  F.  Schinkel 
(1781—1841)  an  architect  whose  works  constitute  the  models  in  all  the  North 
German  schools.  Schinkel's  chief  work  was  the  Museum  in  Berlin,  he  was 
followed  by  his  pupil,  A.  Staler  (1800—1865)  who  built  the  additions  to  the 
Museum.    In  Munich,  Leo  von  Klenze  (1794—1864)  led  the  way. 


Plate  396. 


(After  Karl  Friedrich  Schinkel,  Sammlung  architektonischer  Entwiirfe.) 
From  the  Ancient  Museum  in  Berlin. 


Wood  ceiling  in  the  Sculpture  Hall. 
Principal  entablature  of  one  of  the  upper  halls. 
Capital  of  column  in  the  Sculpture  Hall. 
Base  of  column  in  the  portico. 
Fig.  5.    Capital  of  pier  from  Sculpture  Hall. 
„     6.    Cast-iron  balustrade  of  the  gallery  in  the  Rotunda. 


Candlestick  by  Schinkel 

(Vorbilder). 


Fig. 


Plate  397. 

(After  Karl  Friedrich  Schinkel,  Sammlung  architektonischer  Entwiirfe.) 

1.  Window  of  the  General  Building  School  in  Berlin. 

2.  Principal  entrance  door  of  the  same. 


Plate  398. 

Fig.  1,  2,  6,  and  7.     Grecian  chairs  and  sofa  (L.  Lohde,  Sammlung  von  MObelentwiirfen, 

erfunden  von  Karl  Friedrich  Schinkel). 
„     3.    Marble  tazza  by  Schinkel  (Vorbilder  fur  Fabrikanten  und  Handwerker). 
„     4.    Grecian  vase  after  Moses  (Vorbilder  fiir  Fabrikanten  und  Handwerker,  auf  Befehl 

des  Ministers  fiir  Handel,  Gewerbe  und  Bauwesen,  1821). 


622 


NEOGREC  ORNAMENT  IN  GERMANY. 


Plate  397. 


UWJW   MMMi  m  HKJHJW  lULM.H4CJKL-.Mt.Jli  M.  JWt  M  IH   lit  JJ>,  .Ml.  MtHH  Mti  1441IUllHjM;iHJtlLMll4l<»KMIH4IM    JMlnlMIII«jm««.»«mm»»IMIMI«IIM- 


^ 


':mi 


IW»HIWH.WmaiWWWI.MIWMll«MlH(MMWIW1lll1imHWIWM»llHIMMMIMIM»l«llliaimMMl»w»llM.ltl  nrrtntr 


Plate  398. 


NEOGREC  ORNAMENT  IN  GERMANY. 


623 


624 


NEOGREC  ORNAMENT  IN  GERMANY. 


Plate  399. 


Plate  400. 


NEOGREC  ORNAMENT  IN  GERMANY. 


625 


SPELTZ,  Styles  of  Ornament. 


40 


626 


NEOGREC  ORNAMENT  IN  GERMANY. 


Plate  399. 

Fig.   1.  Drawing-room  table  by  Schinkel  (L.  Lohde). 

2.  Mural  painling  from  drawings  by  Stier  (Vorbilder). 

3.  Writing  table  by  Schinkel  (L.  Lohde). 

4.  Goblet-glass  by  Schinkel  (Vorbilder). 

5.  Wine  cooler  by  Ruhl  (Vorbilder). 

6.  Sample  of  stutf  from  Bolticher  (Vorbilder). 


Plate  400. 

From  Examples  for  Manufacturers  and  Artisans,  by  order  of  the  Minister  for  Trade, 

Industry  and  Building,  1821). 

Fig.  1.  Chalice  by  Schinkel. 

„  2.  Sample  of  stuff  from  Mauch. 

„  3.  Sample  of  stuff  by  Schinkel. 

„  4.  Vase  from  Mauch. 


Marble  tazza  by  Schinkel 

(Vorbilder  fur  Fabrikanten  und  Handwerker). 


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40* 


628 


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INDEX  OF  ILLUSTRATIONS 

ACCORDING  TO 

SUBJECT  AND  MATERIAL. 


Abacus.  —  Grec.  P.  18.    F.  1,  3,  9.    P.  19, 
F.  14.    P.  20.  F.5.  P.  21.  F.  13.  P.22.  F.3. 

—  Rom.  P.  34.  F.  8,  9,  10,  13.  P.  45.  F.  1, 
6,8.  —  Romque  p.  72.  F.  1,  2.  P.  79.  P.  6, 
7,11.  P.80.  F.3.  P.Sl.  F.4.  P.87.  F.8. 
P.  92.  F.  5.  P.  94.  F.  2.  P.  102.  F.  6. 
P.  106.  F.  8.  —  Russ.  P.  108.  F.  1.  —  Goth. 
P.  136.  F.3,  6,  8.  P.  146.  F.  7.  P.  162.  F.4. 

—  Ren.  P.  201.  F.  4. 

Acanthus.  —  Grec.  P.  20.  F.  1,  2,  5.  P.  21. 

F.  6,  9,  12.    P.  22.  F.  4,  7,  8,  10,  12.    P.  25. 

F.  2,  3.  —  Lat.  Ren.  P.  279.  F.  2.  —  Roc. 

P.  323.  F.  4.  —  18th  C.  P.  370.  F.  5. 
Acroterium.  —  Grec.  P.  18.  F.  5. 
Agraffe.  —  Page  412. 
Aigrette.  —  18th  c.  P.  350.  F.  7,  8. 
Alphabet.  —  CeIt.P.56.  F.4.  —  Romque  p.82. 

F.5.  —  P.  101.  F.  13.  —  Ren.  P.  214.  F.2. 

P.  233.  F.  1-5.    —    Roc.  P.  319.  F.  5,  6. 
Altar.  —  Etrusc.  P.  31.  F.  9— 11.  —  Rom. 

P.  33.  F.  3,  6,  18.    P.  36.  F.  2.    P.  38.  F.  3. 

—  Romquep.85.  F.  1  — 16.  —  Goth.  P.  179. 
F.  1,  2.  —  Page  124. 

Ambo.  —  Early  Chr.  P.  62.  F.  3.  —  Romque 

P.  86.  F.  1. 
Amphora.  —  Egypt.  P.  7.  F.  5.  —  Assyr.  P.  10. 

F.  13— 15.  -  Grec.  P.  26.  F.  5,  8,  11,  12,  15. 
Anta-capital.  —  Grec.  P.  18.  F.  10,  11.  P.  21. 

F.  2,  13.    P.  22.  F.  12. 
Ante-fix.   —    Grec.  P.  18.   F.  4,  8.     P.  23. 

F.  12.  —  Page  44. 
Apothecary's  pot.  —   Ren.  P.  211.  F.  3,  7. 
Arcade.  —  Romque  p.  89.  F.  4,  5,  6,  7.  P.  94. 

F.  1.  P.95.F.4.  —  Goth.P.138.F.8.  P.  165. 

F.7,  8.  —   Ren.  P.  251.  F.  1.    P.  264.  F.  4. 
Arch.  —  Rom.  P.  33.  F.  15.  —  Byz.  P.  63. 

F.  1,  6.  P.  64.  F.  1.  —  Romque  p.71.  p.  2,  3. 


P. 73.  F.  14.    P.87.  F.6,  7.    P. 89.  F.  1,  4. 

5,  8.    P.  92.  F.  1,  5,  8.    P.  93.  F.  2.    P.  107. 

F.  8.  —  Russ.  P.  108.  F.  1.  —  Mahom.  P.  1 17. 

F.  9,  10,  12.  P.  132.  F.  5.  —  Goth.  P.  177. 

F.  1,  5.    P.  188.  F.  1,  2.  —  Page  181. 
Architrave.   —    Grec.  P.  18.   F.  1.     P.  20. 

F.  3.    P.  21.  F.  10.    P.  22.  F.  3.  —  Rom. 

P.  33.   F.  1,  2.     P.  34.  F.  4.     P.  35.  F.  2. 

P.  36.  F.  1,  3.    —    Early  Chr.  P.  58.  F.  8. 
Archivolte.   —    Romque  p.  73.  F.  7.    P.  78. 

F.3.    P.  81.  F.3.    P.  97.  F.  2,  10.    P.  98. 

F.  5,  6.     P.  102.  F.  4,  5. 
Arm  chair.  —  Grec.  P.  28.  F.  4,  19.  —  Rom. 

P.  39.  F.  10,  11.  —   Byz.  P.  68.  F.  18.  — 

Romque  p.  105.  F.  1,  2.  —    Goth.  P.  171. 

F.  1,  2.  —  Ren.  P.  220.  F.  1,  2,  5.    P.  252. 

F.  2.    P.  269.  F.  2,  4.  —  Lat.  Ren.  P.  274. 

F.  1.    P.  291.  F.  3.     P.  297.  F.  2.  —  Roc. 

P.  320.    F.  3.    P.  325.   F.  1.    —     18th  C. 

P.  370.  F.  6.  —  Emp.  P.  383.  F.  5.    P.  386. 

F.3.  P. 387.  F.  1.  —  Biederm.  P.394.  F.2. 
Armour.   —    Rom.   P.  44.   F.  2,  6,  14.   — 

Russ.  P.  110.   F.  7.    —    Mahom.    P.  116. 

F.12.  —  Goth.  P.  141.  F.4.    P.  176.  F.  1, 

2.    —    Ren.   P.  215.   F.  5.     P.  222.    F.  2. 

P.  232.  F.  1.     P.  251.  F.  3. 
Arms.  —  Preh.  P.  1.  F.  15,  16,  20.  —  Grec. 

P.  29.  F.  3-5,  9,  10,  12,  16,  26,  30.  39. 

Etrus.  P.  32.  F.  1,  6,  21,  26.    —    Goth. 

P.  160.    F.  13,   14,    16.     P.  167.    F.  5.  — 

Ren.  P.  235.  F.  3.     P.  247.  F.  6.     P.  251. 

F.  5—8.  —  Lat.  Ren.  P.  272.  F.  1.  —  Roc. 

P.  319.  F.  4.    P.  324,  F.  1,  5.    —    18ih  C. 

P.  3G5.  F.  3.    P.  370.  F.  6.   —   Page  274. 

(^See  also  Weapons.; 
Arum  leaf.  -  Goth.  P,  137.  F.  2,  4,  10. 
Badge.  —  Goth.  P.  173.   F.  5. 


INDEX  OF  ILLUSTRATIONS. 


631 


Bag.  — Assyr.P.8.F.15.  —  Goth.  P.160.  F.7. 
Balcony.   —    Goth.   P.  186.  F.  4.    —    Ren. 

P.  231.  F.  6.    —    Lat.  Ren.  P.  271.    F.  4. 

P.  272.  F.  1.    P.  276.  F.  1,  2.   P.  288.  F.  2. 

—  Roc.  P.  325.  F.  4.  —  18th  C.  p.  346. 
F.  1,  2.  P.  354.  F.  3,  4-6.  —  Emp.  P.  393. 
F.  5,  6. 

Baluster.  —  Assyr.  P.  8.  F.  3—5.  —  Camb. 

P.  195.  F.3.  —  Ren.  P.  234.  F.2.  4.  P.  261. 

F.4.    P.262.  F.IO.   P.263.  F.7,  8.   P.  266. 

F.  1,  4.  —  Lat.  Ren.  P.  303.  F.  4.  —  Col. 

P.  334.  F.  5.     P.  333.  F.  4. 
Baluster  pier.  —  Ren.  P.  266.  F.  2. 
Balustrade.  —  Assyr.  P.  8.  F.  5.  —   Goth. 

P.144.  F.3,  4.    P.I61.  F.4,  8.    P.  182.  F.  2. 

—  Ren.  P.  203.  F.  2.  P.  236.  F.  2,  8. 
P.  237.  F.  4.  P.  250.  F.  3,  5,  7,  10,  15. 
P.259.  F.l.  P.261.  F.3— 5.  P.262.  F.6, 
7.  P.  263.  F.  7,  8.  P.  265.  F.  3.  P.  26G. 
F.  4.  P.  267.  F.  3,  5.  —  Lat.  Ren.  P.  272. 
F.  3,  4.  P.  276.  F.  6.  P.  277.  F.  4.  — 
Coll.  P.  338.  F.  4.  —  Neo  G.  P.  396.  F.  6. 

—  Page  3J2. 

Baptismal  font.   —   Byz.   P.  65.   F.  2.   — 

Romque  p.  83.   F.  4.     P.  90.  F.  2.     P.  97. 

F.  4,  6,  9.  P.  106.  F.  1,  2,  4.  —  Goth.  P.  161. 

F.  10.  —  Ren.  P.263.  F. 6.  —  Pages  106, 297. 
Base.  —  Egypt.  P. 4.  F.l.  —  Assyr.  P. 8. 

F.  8,  14.  —  Pers.  P.11.F.7,  11,  12.  — Ind. 

P.  14.  F.13,  15.    P.  15.  F.8,  11.  —  Grec. 

P.  20.  F.  9.    P.  21.  F.  4,  14.    P.  22.  F.  6. 

—  Rom.  P.  34.  F.  2,  3.  P.35.  F.  11.  P.  36. 
F.2.  P.  37.  F.  1—4,  6—9.  —  Byz.  P.  70. 
F.  1,  3,  6.  —  Romque  p.  71.  f.  4,  7. 
P.  72.  F.  5.  P.  73.  F.6,  13.  P.  76.  F.13, 
14.  P.  78.  F.  5,  7,  9.  P.  79.  F.  10.  P.  92. 
F.6,  9.  P. 94.  F.6.  —  Goth.  P.  136.  F.9, 
10,  12.  P.  162.  F.  7.  P.  177.  F.  5.  P.  182. 
F.  1,  4,  5.  P.  185.  F.  4.  —  Chin.  P.  189. 
F.  6,  7.  —  Jap.  P.  197.  F.  4.  —  Ren. 
P.  205.  F.  2.  —  Col.  P.  334.  F.  9.  —  Emp. 
P.  377.  F.  3.  —  Neo  G.  P.  396.  F.  4.  — 
Pages  238.  248. 

Bas-relief.  —  Preh.  P.  1.  F.  18,  19.  P.  2. 
F.7,  13,  22.  —  Egypt.  P.  6.  F.  16,  17.  — 
Assyr.  P.  8.  F.  1,  2,  6,  8.  P.  9.  F.  4,  13.  — 
Pers.  P.  11.  F.  9,   10.    P.  12.  F.  9,  11,  12. 

—  Phoen.  P.  13.  F.  22.  —  Ind.  P.  15.  F.  4, 
6,7,  10.  P.16.  F.5.  —  Grec.  P.  20.  F.  11. 
P.  21.  F.  11.  P.  23.  F.  5.  P.  24.  F.  1—3. 
P.  25.  F.  1 .  P.  29.  F.  1 9.  —  Etrusc.  P.  3 1 .  F.  3. 


Battle-axe.  —  Preh.  P.  1.  F.  25.    P.  2.  F.  3,  4. 

—  Mahom.  P.  133.  F.  7. 
Bead-moulding.  —  Grec.  P.  10.  F.  1—5. 
Beaker.  —  Assyr.  P.  10.  F.7.  —  Rom.  P. 43. 

F.  26.  —  Russ.  P.  110.  F.  9.  —  Ren.  P.  268. 

F.3. 
Bed.  —  Romque  p.  75.  F.  12,  13,  21.  —  Ren. 

P.  268.  F.  5.  —  Roc.  P.  332.  F.  2.  —  18th  c. 

P.  373.  F.  1.  —  Emp.  P.  381.  F.4.    P.  391. 

F.  3.  —  Biederm.  P.  394.  F.  1. 
Bellflower.  —  Goth.  P.  137.  F.  5. 
Bellows.  —  Ren.  P.  215.  F.  2. 
Belt.  —  Goth.  P.  140.  F.  1,  2.  P.  160.  F.  1,  15. 
Belt-buckle.  —  Celt.  P.  50.  F.  5,  8—10,  13. 

P.  53.  F.  16. 
Belvedere.   —   Ren.  P.  258.  F.  6.   —   Lat. 

Ren.  P.  310.  F.  6. 
Biga.  —  Etrusc.  P.  31.  F.  3,  8. 
Bishop's  throne.  —  Rom.  P.  75.  F.  16. 
Bishop's    crozier.     —     Rom.  P.  74.    F.  7. 

P.  75.  F.  4.    P.  83.  F.  5,  8. 
Bookcase.    —   Early  Chr.  P.  62.   F.  4.   — 

Roc.  P.  332.  F.  1.  —  18th  c.  P.  372.  F.  5. 

—  Emp.  P.  380.  F.  4. 

Bookcover.  —  Early  Chr.  P.  61.  F.  1.  — 

Byz.  P.  66.  F.  4.   P.  67.  F.  4.  —   Romque 

P.  75.  F.  20.  —  Goth.  P.  143.  F.  8.  —  Ren. 

P.  225.  F.  4.     P.  240.  F.  4.     P.  244.  F.  1. 
Bookmarker.  —  Ren.  P.  214.  F.  1. 
Border.  —  Romque  p.  85.  F.  2—16.    P.  86. 

F.  4.    P.  87.  F.  5—7.    P.  90.  F.  7,  9,  10. 

P.  91.  F.  3,  5,  6,  8.    P.  92.  F.  3,  10.   P.  93. 

F.  2.    P.  97.  F.  10.   P.  102.  F.  4,  5.    P.  103. 

F.  1,  6,  10.    P.  104.  F.  1—6.    P.  107.  F.  1, 

2,  4,  5.  —  Russ.  P.  111.  F.2.  —  Mahom. 

P.112.  F.8,  14.    P.113.  F.l,  15.    P.  114. 

F.  4.     P.  120.    F.  3—5,    9—11.     P.   126. 

F.  1—19.    P.  127.  F.  7,  8,  12.    P.  134.  F.  1, 

6,  8,  9.  —  Goth.  P.  139.  F.2,  8-12.  P.  141. 

F.  5,  6.   P.  143.  F.  1,  2.   P.  179.  F.  4.  P.  184. 

F.  1—3.  —  Ren.  P.  219.  F.  6,  7. 
Boss  to  vaulting.   —   Romque  p,  71.   p.  1. 

Goth.  P.  138.   F.  4,  7,  9.     P.  146.  F.  2,  3. 

P.  153.  F.  3.     P.  164.  F.  10,  11.     P.  173. 

F.  4.  —  Ren.  P.  264.  F.  8.  —  Roc.  P.  327. 

F.8. 
Bottle.  —  Celt. P. 51.  F.8.  —  Mahom.  P.  120. 

F.  6,  8. 
Bow.  —  Ind.  P.16.  F.32.  —  Rom.  P.  43.  F.23. 
Bowl.  —  Assyr.  P.8.  F.  10.  —  Mahom.  P.  130. 

F.  1. 


632 


INDEX  OF  ILLUSTRATIONS. 


Box.  —  Ind.  P.  16.  F.  13.    —    Grec.  P.  26. 

F.  17.    —    Roc.     P.  325.    F.  5.      P.  329. 

F.  6,  7.  —  18th  C.  p.  350.  F.  4. 
Bracelet.  —   Egypt.  P.  7.  F.  17.  —   Assyr. 

P.  10.  F.  8.  —  Ind.  P.  16.  F.  26.  —  Celt. 

P.  50.  F.  22,  25—27.    P.  53.  F.  6. 
Bracket.  —  Ren.  P.  252.  F.  3.  —  Lat.  Ren. 

P.  287.   F.  2,  5.      P.  304.  F.  7.     P.  307. 

F.  2,  4. 
Bracket  candlestick.  —  Ren.  P.  241.  F.  1,  2. 

—  Lat.  Ren.  P.  283.  F.  2.  —  Roc.  P.  313. 
F.  3.  P.  315.  F.  2.  —  18th  C.  P.  341. 
F.  3.  —  Page  591. 

Bracket  capital.  —  Ren.  P.  228.  F.  6. 
Brickwork.  —   Romq"e  p.  76.  )r.  1—18.  — 

Goth.  P.  166.  F.  1—6.  —   Page  274,  281. 
Bridge.  —  18th  C,    P.  366.  F.  2. 
Bridle-bit.  —  Ren.  P.  243.  F.  5. 
Bronze  figure.   —   Assyr.  P.  9.   F.  12.    — 

Grec.  P.  29.  F.  8.  —  Pomp.   P.  47.   F.  11. 

P.  48.  F.  14.  —  Page  97. 
Bronze  furniture.  —  Assyr.  P.  10.  F.  2.  — 

Rom.   P.  39.  F.  5,  7—9.   -    Pomp.  P.  47. 

F.  5.  —  Celt.  P.  52.  F.  14. 
Bronze  ornament.  —  Preh.  P.  1.  F.  23,  31. 

P.  2.   F.  37-39.    —    Assyr.    P.  9.   F.  7. 

P.  10.  F.4,  17.  —  Grec.  P.  17.  F.  3.   P.  23. 

F.  5,  10.    P.  28.  F.  5,  7.    —    Celt.  P.  50. 

F.  2,  17.  —  Byz.  P.  64.  F.  2,  3.  —  Mahom. 

P.  123.  F.  5.    P.  124.  F.  1,  2.   P.  125.  F.  6. 

P.  130.  F.5,  9,  10,  11,  12.  —  Jap.  P.  197. 

F.  7— 11.    P.  199.   F.  9.    —    Ren.   P.  225. 

F.  5—7.  P.  257.  F.  8.  —   Lat.  Ren.  P.  283. 

F.  2.  P.  284.  F.  3.   P.  292.  F.  7,  11.  —  Roc. 

P.  313.  F.  3.    P.  315.  F.  2,  3.    P.  327.  F.  4, 

6.  _   18th  C.  P.  341.  F.  3.     P.  342.  F.  3. 

P.  347.  F.  4.    P.  348.  F.  6,  7. 
Bronze  jeweL  —  Preh.  P.  1.   F.  8—10,  14, 

18,  27,  29,  32,  33,  37,  38,  41.    P.  2.  F.  24, 

28,  29,  31—34,  36.  —  Celt.  P.50.  F.4— 13, 

19—21,  23.    P.51.  F.  6,  7,  15.   P. 53.  F.4, 

6,  11,  12,  16. 
Bronze  tool.  —   Preh.  P.  1.   F.  35,  36.   — 

Egypt.   P.  6.  F.  14,  19.    —    Assyr.   P.  10. 

F.  3,  12,  19,  21—23. 
Bronze  vase.  —  Chin.  P.  191.  F.5.    P.  192. 

F.  7.    P.  193.   F.  6,  7,  9.    —   Jap.  P.  196. 

F.  4,  6.    P.  199.  F.  9. 
Brooch.  —  Celt.  P.50.  F.  6,  16,  18,  21,  23. 

—  Goth.  P.  160.  V.  8.  —  18th  c.  P.  351. 
F.  2.  7. 


Bucket.  —  Assyr.  P.  10.  F.  12,  21.  —  Celt 

P.  53.  F.  7,  8. 
Buckle.  —  Celt.  P.50.  F.4,  5,  8—10,  13,  24. 

P.51.  F.  6,  7,  15.   —    Goth.  P.  140.  F.  5. 

P.  160.  F.  13. 
Buffet.  —  Ren.  P.  220.  F.  3,  4. 
Bureau.  —   Col.  P.  336.  F.  5.  —  Page  603. 
Bust  of  head.  —  Egypt.  P.  7.  F.  3.  —  Assyr. 

P.  10.   F.  1.    —   Grec.   P.  29.   F.  18.    — 

Page  66. 
Button.  —  Assyr.  P.  10.   F.  24.    —    Grec. 

P.  17.  F.  6,  8-12. 
Butterfly.  —  Chin.  P.  193.  F.  1—3,  8. 
Cabinet.  —  Ren.  P.  238.  F.  3.     P.  253.  F.  6. 

P.  269.  F.  1.    —    Lat.  Ren.   P.  305.    F.  3. 

—  Roc.  P.  333.  F.  3.  —  18th  C.  P.  347. 
F.  3.     P.  372.  F.  6. 

Caffagiolio.  —  Ren.  P.  211.  F.  8. 

Cameo.  —  Rom.  P.  42.  F.  11,  12.  —  Goth. 
P.  143.  F.  4. 

Candelabrum.  —  Rom.  P.  40.  F.  4.  P.  42. 
F.  1,  3,  5.  P.  43.  F.  8.  —  Pomp.  P.  47.  F.6. 
P.  48.  F.  6,  7,  8,  10,  11,  18,  19.  —  RomQue 
P.  74.  F.  4,  5,  6.  —  Goth.  P.  187.  F.  3.  — 
Lat.  Ren.  P.  282.  F.  3.  P.  284.  F.  3.  — 
Roc.  P.315.  F.5.  —  18th  c.  P.349.  F.  11. 

—  Emp.  P.  381.  F.  3. 

Candlestick.  —  RomQue  p.  74.    F.  4,  5,  6. 

P.  75.  F.  3.     P.  100.  F.  13,  15.    —    Goth. 

P.  143.  F.  7.    P.  145.  F.  4.  —  Chin.  P.  193. 

F.  10.  —  Ren.  P.  222.  F.  7.    P. 241.  F.5,  6. 

P.  258.  F.  2.    —    Lat.  Ren.   P.  293.   F.  3. 

P.  294.  F.3,  5.  —  Roc.  P.313.F.3.  P.315. 

F.5.  —  18th  c.  P.  341.  F.3.    P.  342.  F.3. 

P.  346.  F.  6.    P.  354.  F.2.  —  Emp.  P.  381. 

F.  1.  P.  393.  F.4.  —  Page  621. 
Candlestick,  seven-branched.   —    Romiue 

P.  74.  F.  5. 
Canon's  staff.  —  Romque  p.  lOO.  F.  1. 
Canopied  chair.  —  Ren.  P.  266.  F.  3. 
Canopy.  —  Goth.  P.  149.  F.9.    P.  157.  F.3. 

—  Lat.  Ren.  P.  271.  F.  3.     P.  284.  F.  2. 
Canopy  bed.  —  Lat.  Ren.  P.  284.  F.  2.  — 

18th  c.  P.  373.  F.  1. 
Capital.  —  Egypt.  P.  4.  F.  1—6,  9.  —  P.  5. 
F.  1—6,  8.  —  Assyr.  P. 8.  F.3,  4,  7,  9.  — 
Pers.  P.  1 1.  F.  3—5.  —  Phoen.  P.  13.  F.  2—4. 

—  Ind.  P.  14.  F.  4, 6,  8,  1 1,  13—16.  —  Grec. 
P.  17.  F.  15.  P.  18.  F.  1,  3,  6,  9—12.  P.  20. 
F.  1-8.  10,  13-15.  P.  21.  F.  1,  2,  5,  8,  13. 
P.  22.  F.  1  —4,  7,  8,  1 1,  12.  P.  23.  F.  8,  9.  — 


INDEX  OF  ILLUSTRATIONS. 


633 


Rom.  P. 33.  F.  1,  2,  4,  5.  P.  34.  F,  1,  4  to 
14.  P.  35.  F.  2,  6.  8—10.  P.  36.  F.  1,  3,  4, 
6,  7.  P.  37.  F.5.  —  Pomp.  P. 45.  F.  1,  4—9. 

—  Early  Chr.  P.  58.  F.  1 ,  2,  5,  6,  9.  P.  60. 
F.  2—5.  —  Byz.  P.  63.  F.  1,  6-8.  P.  64. 
F.4-10.  P.  69.  F.  2,  8,  11,  12,  14-16.  — 
Romque  p.  71.  F.  5,  6,  9,  10,  11.  P.  72. 
F.  3—6.  P.  73.  F.  5,  8.  P.  76.  F.  1-5,  9, 
10,18.  P.  79.  F.  8,  9,  11,  12.  P.80.  F.  1,2. 
P.81.F.4.  P.82.F.  1—4,6-9.  P.87.F.3, 
6,  8.  P.  92.  F.  1,  4,  5,  8,  11.  P.93.  F.4. 
P.  94.  F.  2,  5.  P.  95.  F.  5.  P.  96.  F.  1—7. 
P.  98.  F.  1,  4.  P.  99.  F.  14,  16.  —  P.  102. 
F.  1,  6.  P.  103.  F.  4,  9.  —  P.  106.  F.3.  — 
Russ.  P.  108.  F.  2,  4.  —  Mahom.  P.  112. 
F.  1—5.  P.  116.  F.  1,  2,  7,  9.  P.  117.  F.  3, 
6.  P.  122.  F.  1,  3,  8.  —  Goth.  P.  135. 
F.  n.  P.  136.  F.  1-8,  11.  P.146.  F.5— 7. 
P.  147.  F.6.  P.  161.  F.  5.  P.  162.  F.  1-9. 
P.  182.  F.  1,  4,  5.  —  Ren.  P.  201.  F.  3,  4. 
P.  217.  F.3.  P.  218.  F.  1,  2.  P.  228.  F.5, 
6.  P.  235.  F.  1,  3,  5,  6.  —  Lat.  Ren.  P.  271. 
F.  2.  P.  299.  F.  1,  2,  3.  P.  308.  F.  3. 
P.  309.  F.  1.  P.  311.  F.  4.  —  18th  C. 
P.  355.  F.  1.  P.  356.  F.  1,  3.  P.  357.  F.2, 
3.  P.358.  F.  1,  3.  P.359.  F.  1,  3.  P.  360. 
F.4.    P.  361.  F.  1.   —    Emp.  P.  377.  F.  1. 

—  Neo  G.  P.  396.  F.  3,  5. 

Carpet.  —  Goth.  P.  181.  F.2.  —  Jap.  P. 200. 
F.  1,  4.  —  Ren.  P.  232.  F.  4.  P.  246.  F.  1. 

—  Lat.  Ren.  P.  286.  F.  6. 

Carriage.  —  Grec.  P.  27.  F.  8.    —    Etrusc. 

P.  31.  F.  1,  8.    —    Lat.  Ren.  P.  274.  F.5. 

P.  296.   F.  3—5.   —  Roc.  P.  317.  F.  4.  — 

Page  28. 
Carriage-pole.   —   Assyr.  P.  10.    F.  4.   — 

Grec.  P.  29.   F.  8. 
Carriage-wheel.  —  Lat.  Ren.  P.  296.   F.  5. 

Page  452. 
Cartouche.  —   Ren.  P.  228.   F.  7.    P.  235. 

F.  4.     P.  253.  F.  2,  4.    —    Lat.  Ren.  287. 

F.  4.    P.  296.    F.  1.    P.  302.  F.  2,  5,  7.  — 

Roc.  P.  323.  F.  1.    Page  419. 
Caryatide.  —  Grec.  P.  21.  F.  10.  —  ISth  C. 

P.  354.  F.  1.     P.  366.  F.2.     P.  379.  F.2. 
Ceiling   ornamentation.    —    Egypt.    P.  7. 

F.7,  8.  —  Grec.  P.  17.  F.  19.  P.  27.  F.  18, 

30—32,  39,  40.  —  Romq^e  p.89.  F.  1,  4,  6,  7. 

P. 91.  F.2.  —  Mahom.  P.  113.  F. 6.   P.  121. 

F.  1.    P.  125.  F.  8.  —  Goth.  P.  151.  F.  6,  10. 

P.  168.  F.  1,  4-11.   P.  187.  F.  6.  —  Camb. 


P.  194.  F.  1.  —  Jap.  P.  197.  F.  1,  4.  - 
Ren.  P.  209.  F.' 8.  P.  219.  F.  8.  P.  230. 
F.  1,  4,  7,  8.  P.  237.  F.  6.  P.  240.  F.2 
P.  250.  F.  1.  P.  256.  F.  2,  6.  P.  261.  F.  6 
P.  262.  F.  3-5.  P.  266.  F.  5.  P.  267. 
F.  6—8.  —  Lat.  Ren.  P.  279.  F.  4.  P.  281. 
F.2.  P.  311.  F.2,  3.  —  Roc.  P.  327. 
F.  8.  —  Col.  P.  338.  F.  3.  —  18th  c.  P.341. 
F.2.  P.  342.  F.  1.  2,  5.  P.  364.  F.  1—4. 
P.  366.  F.  1.  P.  374.  F.  1,  7.  —  Emp. 
P.  378.  F.  1.     P.  388.   F.  2.     P.  390.  F.  4. 

—  Neo  G.  P.  396.  F.  1. 

Censer.   —    Goth.   P.  173.   F.  6.   —   Chin. 

P.  190.  F.  1.    P.  193.  F.4.  —  Emp.  P.  387. 

F.  4. 
Chafing-dish.  —  Romque  P.  84.  F.  2. 
Chain.    —     Goth.  P.  173.   F.  9.    —    Ren. 

P.  244.  F.  4. 
Chair.  —  Preh.  P.  3.  F.  10.  —  Egypt.  P.  6. 

F.  20—24.    —    Assyr.  P.  10.   F.  2,  17.  — 

Grec.  P. 25.  F.5.    P. 28.  F.4,  6,  10,  16,  19. 

—  Rom.  P.  39.  F.  1,  5,  10.  —  Celt.  P.  52. 
F.  14.    —   Early  Chr.   P.  61.  F.  3,  10.  — 
Byz.  P.  68.  F.  18— 21.   —    Romque  p.  75.   ^ 
F.  16.  P.  103.  F.  1 1.  P.  105.  F.  1,  2.  —  Goth. 

P.  171.  F.  1,  2.  —  Chin.  P.  189.  F.  9.  — 
Ren.  P. 220.  F.  1,  2,  5.  P. 232.  F.  3.  P. 238. 
F.  1,  2.  P.  250.  F.  12.  P.  252.  F.  2.  P.2".9. 
F.  2,  4.  —  Lat.  Ren.  P.  273.  F.  6.  P.  283. 
F.  9.  P.291.  F.  3.  P.  297.  F.2.  P.  3U5. 
F.  4.  —  Roc.  P.  317.  F.  2.  P.  320.  F.  3. 
P.325.F.1.  P.331.F.  1,2.  P.  332.  F.  3,  5. — 
CoL  P.  336.  F.  4,  6.   P.  337.  F.  3,  4,  10,  11. 

—  18th  C.  P.  348.  F.  5.  P.  349.  F.  5. 
P.  370.  F.6.    P.  372.  F.  1—3.    P.  373.  F.3. 

—  Emp.  P.  383.  F.  5.  P.  385.  F.  9,  10. 
P.  386.  F.  3,  5.  P.  387.  F.  1,  3.  —  Bied. 
P.  394.  F.  2,  3.  —  Neo  G.  P.  398.  F.  1, 
2,  5.    Pages  29,  442. 

Chair  leg.  —  Grec.  P.  28.    F.  5. 

Chalice.  —  Early  Chr.  P. 62.  F.5.  —  Byz. 

P.  68.  F.  17.  —  Romque  p.  74.  F.8.    P.  75. 

F.  5.   P.  84.  F.  3.  —  Russ.  P.  110.  F.  8.  — 

Ren.  P. 223.  F.5.    P. 245.  F.5.  —  Neo  G. 

P.  400.  F.  1. 
Chandelier.  —  Goth.  P.  154.  F.  2.    P.  170. 

F.  2.   —   Ren.  P.  241.  F.  6.    P.  257.  F.  8. 

—  Lat.  Ren.  P.  290.  F.  2.  —  Roc.  P.  316. 
F.  2.  —  Page  610. 

Chest.  —  Romque  p.  75.  f.  1.    P.  84.  F.  1. 
P. 96.  F.  12.  —  Goth.  P.  142.  F.5.    P.  143. 


634 


INDEX  OF  ILLUSTRATIONS. 


F.  12.    P.  156.  F.  1.    P.  170.  F.  6.  —  Ren. 

P.  269.    F.  6.    —    Lat.  Ren.    P.  283.    F.  L 

P.  305.  F.  7.  —  Roc.  P.  317.  F.  1.     P.  330. 

F.  2— 3,  5.    P.  333.  F.  L    —    Col.  P.  336. 

F.  7.  —  18th  C.  P.  341.  F.  5. 
Chimera.  —  Page  90. 
Chimney.  —  Goth.  P.  148.  F.  1. 
Chimney  piece.  —  Goth.  P.  144.  F.  3.   P.  150. 

F.  10.  —   Ren.  P.  217.  F.  6.    P.  239.  F.  7. 

P.  256.   F.  5.     P.  252.  F.  8.     P.  264.  F.  6. 

P.  266.   F.  1.    —    Lat.  Ren.   P.  297.    F.  3. 

P.  303.  F.  5.  —  P.  304.  F.  2.    P.  308.  F.  6. 

P.  309.  F.  1.  —  Roc.  P.315.  F.  4.    P.  331. 

F.  5.  —    Col.  P.  334.  F.  1,  4.    P.  338.  F.  1. 

P.  339.  —    18th  C.  p.  340.     P.  354.    F.  1. 

P.  361.   F.  4,  5.     P.  363.    F.  1.    —    Emp. 

P.  380.  F.  1.     P.  388.    F.  3.     P.  392.   F.  4. 
Christ  on  throne.  —  Early-Chr.  P.  61.  F.  8. 
Cimbah  —  Grec.  P.  30.  F.  9. 
Cist.  —  Etrusc.  P.  32.  F.  24. 
Clasp.  —  Preh.  P.  1.  F.  29,  32.  —  Grec.  P.  30. 

F.  10.    Rom.  P.  44.   F.  4.    —    Celt.  P.  53. 

F.  11.  —  Romq'-ie  p.  75.  F.  18. 
f    Clock.  —  Ren.  P.  245.  F.l.    P.  282.  F.  3.  — 

Lat.  Ren.  P.  290.   F.  1.     P.  3L3.   F.  3.  — 

Roc.  P.  315.  F.  1,  3.  —  Page  563. 
Cloth  fabric.    —    Romque  p.  83.   F.  7.   — 

Goth.  P.  143.  F.  2. 
Club.   —   Preh.  P.  3.   F.  9.    —    Ind.  P.  16. 

F.  3,  6,  22.  —  Russ.  P.  110.  F.  6. 
Coat  of  Arms.   —    Goth.  P.  144.    F.  1.    — 

Ren.  P.  202.    F.  5.    —    Lat.  Ren.  P.  303. 

F.  7.   —    18th  c.  P.  365.  F.  3.    —   Pages 

274,  445. 
Coffee  pot.  —  18th  C.  P.  368.  F.  5. 
Coffer.  —  Byz.  P.  67.  F.3.  —  Romque  p.  75. 

F.l.    P.  84.  F.l.     P.  96.  F.  12.    —    Goth. 

P.  142.  F.  5.     P.  143.  F.  12.    P.  156.  F.  1. 

P.  170.  F.  6. 
Coffin.  —  Celt.  P.  153.  F.  20,  22. 
Coiffure.—  Grec.   P.  30.  F.  16,  17,  21,  22. 

—  Rom.  P.  41.  F.  8—10.    —    Byz.  P.  68. 

F.  12-15.  —  Goth.  P.  160.  F.  3. 
Coin.  —  Pers.  P.  12.  F.  8.   —   Grec.  P.  17. 

F.  14.    P.  21.  F.  15,  16.     P.  29.    F.  17.  — 

Rom.  P.  42.  F.  15. 
Column.    —    Preh.  P.  2.   F.  35.    —    Egypt. 

P.  4.  F.  1.    P.  5.   F.  1,  5.    P.  7.   F.  1.  - 

Ind.  P.  14.  F.  1,  5,  7,  11,  13,  15,  16.  —  Grec. 

P.  17.  F.  15.  —  Rom.  P.  34.  F.  7.  —  Pomp. 

P.  45.  F.  1,  7.  —   Romque  p.  78.  F.  2,  4. 


P.80.  F.  1,6.  P.  81.  F.  4,6,7,9,  11.  P.  86. 
F.  2,  5.  P.  89.  F.  5.  P.  95.  F.  3.  P.  97. 
F.  3,  5,  1 1.  P.  106.  F.6— 8.  —  Russ.  P.  108. 
F.4.  P.  109.  F.5,  6.  —  Mahom.  P.  112. 
F.  1,  3,  5.    P.  127.  F.  9,  11.  P.  132.  F.  4,  5. 

—  Goth.  P.  162.  F.  5.  P.  185.  F.  4.  —  Chin. 
P.  195.  F.  3.  —  Ren.  P.  201.  F.  3.  P.  235. 
F.  1,3,5.  P.  252.  F.  4.  P.  253.  F.l.  P.  263. 
F.2.   P.  355.  F.  1,  2.  —  Pages  11,  444. 

Comb.  —  Rom.  P.  43.  F.  24.  —  Celt.  P.  51. 

F.  12.  —  Romque  p.  74.  F.  3. 
Console.  —   Mahom.  P.  116.  F.  4-6,  8.  — 

Goth.  P.  149.   F.  1—3.     P.  161.   F.  9.  — 

Ren.  P.  237.  F.  1,  2.    P.  238.  F.  4.    P.  252. 

F.  3.    —    Lat.  Ren.   P.  276.    F.  3.     P.  278. 

F.  1.    P.  282.  F.  4.  P.  307.  F.  3,  4.  —   Roc. 

P.  314.  F.  1.  —   Emp.  P.  386.  F.  4.    P.  390. 

F.l. 
Console  table.   —    Lat.  Ren.  P.  284.   F.  4. 

P.  291.  F.  1,  2.    —    Roc.  P.  313.  F.  2.  — 

18th  C.  P.  348.  F.  2.     P.  367.  F.  2. 
Consular  chair.  —  Byz.  P.  68.  F.  21. 
Consul's  costume.  —  Rom.  P.  44.  F.  1. 
Corbel  table.  —  Byz.  P.  69.  F.  4.  —  Romque 

P.  76.  F.  11.    P.  78.  F.  11,  12.    P.  79.  F.  4. 

P.  81.  F.  7.     P.  87.    F.  1.     P.  94.    F.  3,  4. 

—  Page  169. 

Cornice.  —  Ind.  P.  14.  F.  2,  3,  12,  17,  18. 
P.  15.  F.  12.  —  Grec.  P.  18.  F.  1,  2.  P.  21. 
F.  10.  P.  22.  F.  3.  P.  23.  F.  11.  —  Rom. 
P.  33.  F.  1,  2,  17,  19.  P.  34.  F.  1,  4.  P.36. 
F.  1,  2,  12.  P.  35.  F.  1,  3.  —  Romque  p.  ^\, 
F.  12.   P.80.  F.  2,  3,  5,  10.   P. 99.  F.  1—12. 

—  Mahom.  P.  122.  F.  3,  5—7.  —  Goth. 
P.  188.  F.  3.  —  Ren.  P.  201.  F.  2.  P.  202. 
F.  2.  P.  203.  F.  3,  4.  P.  207.  F.  3.  P.  230. 
F.  9.  —  Lat.  Ren.  P.  287.  F.  3.  P.  299. 
F.  1,  3.  P.  304.  F.  6.  P.  308.  F.  1,  3. 
P.  309.  F.  1.  —  Emp.  P.  377.  F.  1,  2.  — 
Neo  G.  P.  396.  F.  2.  —  Page  23S. 

Corona.  —  Grec.  P.  18.  F.  7.     P.  20.  F.  12. 

P.  21.   F.  7.    —    Rom.   P.  33.   F.  17,   19. 

P.  35.  F.  1,  12. 
Coronation  chair.  —  Goth.  P.  154.  F.  5. 
Corsage  ornament.—  18th  C.  P.  351.  F.l. 
Costume.  —  Rom.  P.  44.  F.  1,  15.  —  Romque 

P.  100.  F.  10.  —  Mahom.  P.  133.  F.  2.  — 

Goth.  P.  181.  F.  1.    —    Ren.  P.  213.  F.  1. 

P.  223.  F.  13.    P.  243.  F.  3.    P.  270.  F.  6. 

—  Pages  12,  22,  34,  37,  43,  328. 
Couch.— Egypt.P.6.F.22.  — Grec.P.28.F.20. 


INDEX  OF  ILLUSTRATIONS. 


635 


Cradle.   —   Goth.   P.  170.    F.  4.   —   Ren. 

P.  269.  F.  3.  —  Emp.  P.  385.  F.  6,  7. 
Credence    table.    —    Goth.    P.  142.    F.  3. 

P.  180.  F.  5. 
Cresting.    —   RomQue  P.  77.  F.  9—12.   — 

Mahom.  P.  112.  F.  7.    P.  117.  F.  12.    — 

Lat.  Ren.  P.  287.  F.  5. 
Crocket.  —   Goth.  P.  135.  F.  3,  6.  P.  147. 

F.  1,  4.  P.  161.  F.  3. 
Crotchet  work.  —  Ren.  P.  213.  F.  2. 
Crown.  —  Ind.  P.  16.  F.  25.  —  Early  Chr. 

P.  59.  F.  2.  P.  61.  F.  5,  6.  —  Byz.  P.  68. 

F.  11.  —  Goth.  P.  160.  F.  2,  5.    P.  173. 

F.  2,  7,  8. 
Cross.   —    Celt.  P.  52.   F.  7.     P.  54.   F.  5, 

12—14.  —  Early  Chr.   P.  59.  F.  1.  P.  61. 

F.  4.  —  Romque  p.  72.  F.  4.     P.  79.  F.  5. 

P.  82.  F.  10.  P.  100.  F.  11.  —  Goth.  P.  135. 

F.  12.  P.  170.  F.  3.    —   Ren.  P.  234.  F.  1. 

P.  251.  F.  4. 
Cross  finial.  —  Ren.  P.  258.  F.  5. 
Crozier.  —  RomQue  p.  74.  p.  7.  P.  75.  F.  4. 

P.  83.  F.  5,  8.  —  Goth.  P.  170.  F.  1. 
Crucifix.   —   Early  Chr.  P.  57.  F.  8.  P.  59. 

F.  5.   —   Roc.  P.  313.  F.  4.  —  Page  118. 
Cup.  —  Rom.  P.  42.  F.  4.  —  Romque  p.  75. 

F.  15.  —   Chin.  P.  192.  F.  2.   —   18th  c. 

P.  376.  F.  3,  5. 
Cupboard.  —  Lat.  Ren.  P.  284.  F.  1.  P.  305. 

F.  1.  —  Roc.  P.  330.  F.  4.  —  Emp.  P.  389. 

F.  7.    P.  391.   F.  7.    —   Biederm.  P.  395. 

F.  3. 
Cupola.  —  Russ.  P.  108.  F.  3. 
Curtain.  —  Jap.  P.  197.  F.  12.  —  Lat.  Ren. 

P.  286.  F.  4,  5.  —  Page  33. 
Cymatium.   —   Grec.  P.  18.   F.  12.   P.  19. 

F.  6—8. 
Dagger.  —  Preh.  P.  1.  F.  16,  17.  —  Egypt. 

P.  6.  F.  12.  —  Etrusc.  P.  32.  F.  21.  —  Celt. 

P.  53.  F.  5,  10.  —  Romque  p.  lOJ.  F.  12. 

-   Goth.  P.  160.  F.  4. 
Dagger  hilt.  —  Ren.  P.  225.  F.  5—7. 
Dagger   sheath.   —   Rom.  P.  44.  F.  5.   — 

Ren.  P.  223.  F.  12. 
Damascened   work.    —    Mahom.  P.  133. 

F.  10.  P.  134.  F.  1,  6,  8,  9.  —  Page  234. 
Damask.  —  Ren.  P.  270.  F.  1. 
Decanter.  —  Ren.  P.  223.  F.  5. 
Delft  plate.  —  Ren.  P.  255.  F.  7. 
Diadem.  —  Russ.  P.  111.  F.  3. 
Diaper.  —  Ren.  P.  270.  F.  2—4,  9,  12,  13. 


Diptych.  —  Early  Chr.  P.  62.  F.  1. 

Dish.  —  Pers.  P.  12.  F.  16.  —  Phoen.  P.  13, 
F.  21.  —  Grec.  P.  25.  F.  4.  P.  28.  F.  9.  - 
Celt.  P.  51.  F.  10.  —  Chin.  P.  192.  F.  4.  — 

—  Ren.  P.  221.  F.  2.  —  Lat.  Ren.  P.  285. 
F.3. 

Door.  —  Egypt.  P.  7.  F.  16.  —  Byz.  P.  63. 

F.  5.  —  Romque  p.  98.  F.  5,  6.  P.  102.  F.  4. 

P.  103.  F.  1,  3,  7.  —  Goth.  P.  145.  F.  3. 

P.  157.  F.  4.  P.  158.  F.  4.  P.  163.  F.  1-4. 

P.  169.  F.  6.  P.  171.  F.  3.  —  Jap.  P.  196. 

F.  3.    —    Ren.   P.  202.  F.  4.   P.  207.  F.  2 

P.  235.  F.  7.   P.  238.  F.  7.   P.  249.  F.  2. 

P.  254.  F.  2.   P.  256.  F.  1.   P.  262.   F.  1. 

P.  264.  F.  7.  —  Lat.  Ren.  P.  277.  F.  1,  2. 

P.  287.    F.  1.    P.  310.   F.  1,   7.    —    Roc. 

P.  322.  F.  1.  —  Col.  P.  334.  F.  2.  P.  337. 

F.  9.    —    18th  C.  P.  349.   F.  3,  4,  9,  10. 

P.  352.  F.  5.  —  Neo  G.  P.  397.  F.  2.  —  Page 

542. 
Door  furniture.  —  Romque  p.  105.  p.  5,  6. 

—  Goth.  P.  151.  F.  5.  P.  169.  F.  1,  3,  4, 
5,  6,  7,  9.  11,  12,  13,  14,  15,  16.  —  Ren. 
P.  242.  F.  1,  3.  P.  254.  F.  2.  —  Lat.  Ren. 
P.  289.  F.  6.  P.  292.  F.  11.  —  18th  c. 
P.  348.  F.  6.  —  Page  252. 

Door  hinge.  —  Romque  p.  83.  F.  2.  — 
Mahom.  P.  125.  F.  2,  4.  —  Goth.  P.  169. 
F.  6,  14,  15.  —  Page  252. 

Door-knocker.  —  Romque  p.  72.  F.  8. 
P.  95.  F.  6.   —   Mahom.  P.  112.  F.  9,  10. 

—  Goth.  P.  138.  F.  5,  6.  P.  151.  F.  3. 
P.  178.  F.  3.  —  Ren.  P.  242.  F.  9.  —  Lat. 
Ren.  P.  272.  F.  5.  P.  280.  F.  1.  P.  282. 
F.  1.  P.  297.  F.  4.  —  18th  C.  P.  368.  F.  3. 

Doorway.  —  Romque  p.  87.  F.  7.  P.  88. 
F.  1.  P.  95.  F.  2.  P.  98.  F.  5,  6.  P.  103. 
F.  1,  3.  P.  107.  F.  6.  —  Russ.  P.  108. 
F.  1.  P.  109.  F.  6.  —  Mahom.  P.  120.  F.  1. 

—  Romque  p.  104.  F.  1—6.  —  Goth.  P.  138. 
F.  3.  P.  151.  F.  4.  P.  158.  F.  1—3.  P.  163. 
F.  1-4.  P.  166.  F.  3,  6.  P.  184.  F.  1,  2. 
P.  188.  F.  1,  2,  5.  —  Camb.  P.  195.  F.  1. 
P.  196.  F.  3.  —  Ren.  P.  206.  F.  2.  P.  207. 
F.  2.  P.  208.  F.  1.  P.  216.  F.  1,  4.  P.  217. 
F.  2.  P.  235.  F.  7.  P.  236.  F.  4.  P.  261. 
F.  1.  P.  264.  F.  7.  —  Lat.  Ren.  P.  271. 
F.  1.  5.  P.  272.  F.  1.  P.  277.  F.  1,  2. 
P.  300.  F.  1  P.  304.  F.  3,  7.  P.  310.  F.  1,  7. 
P.  311.  F.  1.  —  Col.  P.  334.  F.  7,  8.  P.  337. 
F.  9.    —    18th  c.  P.  344.   F.  4.    P.  346. 


636 


INDEX  OF  ILLUSTRATIONS. 


F.  3.  P.  349.  F.  3,  4.  P.  352.  F.  5.  P.  355. 

F.  3.  P.  357.  F.  4,  5.    —    Neo  G.  P.  397. 

F.  2.  —  Pages  181,  342,  542. 
Dormer  window.  —  Lat.  Ren.  P.  277.  F.  4. 
Dress.  —  Ren.  P.  244.  F.  3.  P.  270.  F.  6.  — 

18th  C.  P.  350.  F.  5,  6.  —  Pages  12,34,37,99. 
Drinking-horn.—  Grec.  P.  28.  F.  14. 
Eagle.—  Romquep.84.  F.  10.  — Russ.  P.  110. 

F.  11.  —  Goth.  P.  135.  F.  5.  P.  167.  F.  7. 
Ear-ring.  —  Assyr.  P.  10.  F.  9-11,  26.  — 

Phoen.  P.  13.  F.  5,  13,  18.  —  Ind.  P.  16. 

F.  15,  16.  —  Rom.  P.  43.  F.  4—6,  10,  11. 

Celt.  P.  53.  F.  9,  14.  —  RomQ^e  p.  90.  F.  6. 

18th  C.  P.  351.  F.  4,  6. 
Earthenware  vessel.  —  Preh.  P.  1.  F.  5 — 7, 

11—13,  34.  P.  2.  F.  1,  5,  9, 10,  12,  14-17, 

19-21,  43,  45.    —    Eg>'pt.  P.  7.   F.  4,  5. 

—  Assyr.  P.  8.  F.  10.  P.  10.  F.  7,  13-16, 
18.  20.  —  Pars.  P.  12.  F.  4—6.  —  Phoen. 
P.  13.  F.  6,  7,  9,  15—17.  —  Ind.  P.  16. 
F.  17,  18,  28,  30,  31.  —  Grec.  P.  17.  F.  13. 
P.  26.  F.  1—17.  —  Etrus.  P.  32.  F.  23.  — 
Rom.  P.  40.  F.  3.  P.  41.  F.  16.  P.  42.  F.  13. 
P.  43.  F.  12.  —  Celt.  P.  51.  F.  9,  11,  13. 
P.  53.  F.  18,  19,  21.  —  Romque  p.  lOO. 
F.  10.  —  Mahom.  P.  133.  F.  6,  9.  —  ISthC. 
P.  376.  F.  1—9.  —  Page  36. 

Eaves  tile.  —  Jap.  P.  199.  F.  7,  8. 

Emblem.  —  Lat.  Ren.  P.  284.  F.  7.  P.  374.  F.  5. 

Embroidery.  —  Assyr.  P.  9.  F.  6.  P.  10. 
F.  27.  —  Celt.  P.  50.  F.  1,  3.  —  Russ. 
P.  111.  F.  1.  —  Mahom.  P.  133.  F.  4.— 
Goth.  P.  140.  F.  6,  7.  »  144.  F.  1.  — 
Chin.  P.  189.  F.  13.  —  Ren.  P.  213.  F.  3, 
4.  P.  214.  F.  2,  7.  P.  224.  F.  5.  6,  8. 
P.  270.  F.  5.  11.  —  Lat.  Ren.  P.  275.  F.  3. 

—  Roc.  P.  319.  F.  1—7.  P.  321.  F.  1,4—6. 

—  18th  c.  P.  350.  F.  1,  5,  6.  —  Page  362. 
Embroidery-frame.  —  Grec.  P.  30.  F.  15. 
Enamelled-work.   —    Byz.  P.  70.  F.  4.    — 

Romque   p.  77.   F.  1-12.   P.  85.  F.  1,  12. 

—  Goth.  P.  141.  F.  2,  8.  P.  143.  F.  3.  — 
Jap.  P.  198.  F.  4.  —  Ren.  P.  212.  F.  5,  6, 
8,  9.  P.  223.  F.  7.  P.  244.  F.  4,  5.  P.  260. 
F.  2,  3,  5.  Pages  205,  412. 

Encaustic  tile.  —  Romq"e  p.  96.  F.  14.  — 
Mahom.  P.  114.  F.  3,  4.  P.  119.  F.  1—7. 
P.  127.  F.  5,  7,  12.  P.  128.  F.  1—4.  P.  130. 
F.  2—4,  7, 8.—  Goth.  P.  151.  F.  7-9.  P.  153. 
F.  8—10.  P.  167.  F.  1.  P.  168.  F.2.  —  Ren. 
P.  221.    F.  7,  9.    P.  234.    F.  5,  8.    P.  255. 


F.  2. 3, 5, 7.  P.  258.  F.  4.  —  Lat.  Ren.  P. 298. 
F.  4—8.  —  Roc.  P.  327.  F.  7.  —  Page  228. 
Entablature.  —  Grec.  P.  18.  F.  1.  P.  20. 
F.  3.  P.  21 .  F.  2.  P.  22.  F.  3.  —  Rom.  P.  33. 
F.  1,  2.  P.  34.  F.  1,  4.  P.  35.  F.  2.  P.  36. 
F.  1,  3.  —  Romque  p.  80.  F.  2,  3.  —  Mahom. 

P.  131.  F.  1,2.  —  Ren.  P.  201.  F.2.  P.  203. 

F.  3,  4.   P.  207.  F.  3.  —  Lat.  Ren.  P.  287. 

F.  3.    P.  355.    F.  1.    P.  356.    F.  1.    P.  357. 

F.  2.  P.  358.  F.  1,  3.  P.  359.  F.  1,  3.  P.  360. 

F.  4.   P.  361.  F.  1.  —  Emp.   P.  377.   F.  1. 
Equestrian  statue.   —   Ren.  P.  206.   F.  3. 
Escutcheon.  —  Roc.  P.  333.  F.  5. 
Ewer.  —  Ren.  P.  212.  F.  5,  6.  —  Lat.  Ren. 

P.  285.  F.  1. 
Fa(;ade.  —  Ren.  P.  229.  F.  1,  5.  —   18th  C. 

P.  352.  F.  1,  2. 
Faience.  —  Egypt.  P.  7.  F.  4.  —  Ren.  P.  21 1. 

F.  1—8.   P.  221.  F.  2,  3,  8.    —    Lat.  Ron. 

P.  273.  F.  3.  P.  285.  F.  2—4.  —  Page  485. 
Fan.  —  Preh.  P.  3.  F.  2.  —  Grec.  P.  28.  F.  8. 

—  Mahom.  P.  134.  F.  4,  5.  —  Ren.  P.  225. 

F.  1.  —  Page  544. 
Fan-light.  —  Lat.  Ren.  P.  289.  F.  3.  —  18th  C. 

P.  375.  F.  2. 
Fasces.  —  Rom.  P.  38.  F.  2,  4. 
Female  apparel.   —    Ind.  P.  16.  F.  2.   — 

Grec.  P.  28.  F.  2. 
Fibula.  —  Preh.  P.  1.  F.  33,  41.   —   Etrus. 

P.  32.  F.  8.  —  Celt.  P.  50.  F.  11,  12.  P.  53. 

F.  4,  12. 
Fighting  car.  —  Page  28. 
Fig-leaf.  —  Goth.  P.  137.  F.  3. 
Finial.  —  Mahom.  P.  124.  F.  1,  2.  —  Goth. 

P.  135.  F.  1,  7,  9,  10.    P.  147.  F.  2,  3,  5. 

P.  148.  F.  5.  P.  149.  F.  5,  8,  9.  P.  151.  F.  2. 

P.  153.  F.  1.  P.  161.  F.  2, 6, 7.  —  Ren.  P.  227. 

F.  6.   P.  228.  F.  2,  3.  P.  237.  F.  5.  P.  242. 

F.  5.  P.  254.  F.  2. 
Fire-dog.  —  Ren.  P.  254.  F.  3.  P.  255.  F.  8. 

P.  267.  F.  9. 
Fire-stove.  —  Goth.  P.  167.  F.  1.  —   Ren. 

P.  239.  F.  1.  P.  258.  F.  4.  —  Roc.  P.  327. 

F.  7.    —    18th  c.    P.  353.   F.  7.    —    Emp. 

P.  390.  F.  2,  3. 
Fire-grate.  —  18th  C.  P.  367.  F.  4. 
Fire-screen.   —    Lat.  Ren.  P.  291.  F.  6.  — 

Roc.    P.  325.    F.  3.    —    18th  c.    P.  348. 

F.  1.  P.  370.  F.  3. 
Flagon.  —  Romque  p.  84.  F.  5.  —  Mahom. 


INDEX  OF  ILLUSTRATIONS. 


637 


P.  133.    F.  1.  —  Goth.  P.  143.    F.  10.   — 

Ren.  P.  223.  F.  5. 
Floor-pavement.   —   Assyr.    P.  9.  F.  1.  — 

Grec.  P.  23.  F.  3.  —  Pomp.  P.  46.  F.  3,  6, 

8.  —  Early-Chr.  P.  62.  F.  9. 
Font.  —  Byz.  P.  65.  F.  2.  —  RomQue  p.  97. 

F.  4,  6,  9.  —  Goth.  P.  153.  F.  4.   —   Ren. 

P.  236.  F.  7.   —  Lat.  Ren.  P.  311.  F.  6.  — 

Pages  297.  422. 
Foot-gear.    —    Egypt.    P.  6.    F.  8,  13.  — 

Grec.   P.  30.  F.  6,  7.  —   Rom.  P.  41.  F.  7, 

18,  27,  28. 
Footstool.  —  Assyr.  P.  10.  F.  6. 
Fork.  —  Assyr.  P.  10.  F.  22.  —  Rom.  P.  42. 

F.  16,  19.  21.  —  Mahom.  P.  330.  F.  10.  — 

Ren.  P.  223.  F.  9,  14.     P.  245.  F.  4,  6.  — 

Roc.  P.  321.  F.  11. 
Fountain.  —  Early  Chr.  P.  58.  F.  3.  —  Goth. 

P.  145.  F.  6.  —  Ren.  P.  208.  F.  2,  3,  5,  6. 

P.  235.  F.  5,  6.  —  Lat.  Ren.  P.  272.  F.  6. 

—  Roc.  P.  314.  F.  2,  3. 
Frame.  —  Ren.   P.  267.  F.  4.  —  Lat.  Ren. 

P.  293.  F.  5.  —  Roc.  P.  313.  F.  1.  P.  318. 

F.  4.    P.  331.    F.  2,  4,  5.    —    CoL  P.  335. 

F.  7,  8. 
Fret-work  fillet.    —    Roc.  P.  331.  F.  6—8. 
Frieze.  —  Egypt.  P.  5.  F.  10,  13.  —  Pers. 

P.  11.  F.  1,  2,  4,  5,  9.  —  Phoen.  P.  13. 

F.  1.  —  Grec.  P.  17.  F.  18.   P.  23.  F.  2, 

6,  7.  —   Rom.   P.  33.  F.  16.    P.  34.  F.  4. 

P.  35.  F.  3.    P.  38.  F.  6,  7.  -  Early-Chr. 

P.  60.  F.  1.  P.  65.  F,  6.  —  Romque  p.  72. 

F.  13.  P.  73.  F.  1,  2.   P.  79.  F.  2,  3.   P.  86. 

F.3.— Mahom.  P.112.  F.  14.  P.US.F.Z.- 
Goth.   P.  139.  F.  2.    P.  161.  F.  1.    P.  184. 

F.  5.   P.  195.  F.  2.   —  Ren.   P.  202.  F.  2. 

P.  204.  F.  1.     P.  207.    F.  3.     P.  231.  F.  4. 

P.  256.  F.  3,  4.   —    Lat.  Ren.  P.  308.  F.  6. 

P.358.  F.4.  —  18th C.  p. 371.  F.8.  —  Text- 
figures  P.  45,  136.  159.  592. 
Frontispiece.   —   Pages  12.  113,  337,  543. 
Furniture.   —    Egypt.   P.  6.  F.  20—24.    — 

Assyr.   P.  10.  F.  2,  6,  19.   —   Ind.   P.  16. 

F.  1.  4,  7,  8.  —  Grec.  P.  28.  F.  4,  6,  10, 

15—20.  —   Early-Chr.   P.  61.  F.  3.  P.  62. 

F.  4,  6.  —  Byz.  P. 68.  F.  18—20.  —  Romque 

P.  75.  F.  1,  11-13,  16,  21.    P.  84.  F.  1. 

6,  8,  11.  —  Goth.  P.  142.  F.  3—5.  P.  171. 

F.  1,  2,  6.    P.  180.   F.  5.   —   Chin.  P.  189. 

F.  4,  5,  9,  10.    —    Ren.    P.  210.   F.  2,   3. 

P.  220.  F.  3-6.    P.  232.  F.  2,  3.    P.  238. 


F.  1-3.  P.  249.  F.  1.  P.  250.  F.  4,  6,  8. 
P.  253.  F.  6,  7.  P.  268.  F.  5.  P.  253. 
F.  1—7.  —  Lat.  Ren.  P.  273.  F.  5,  6.  P.  274. 
F.  1,  4.  P.  284.  F.  1—6.  P.  297.  F.  2.  P.  305. 
F.  1—4,  6,  7.  —  Roc.  P.  313.  F.  2.  P.  317. 
F.  1,  2.  P.  318.  F.  3,  5.  P.  320.  F.  1—4. 
P.  325.  F.  1—3.  P.  326.  P.  327.  F.  7. 
P.  330.  F.  2-5.  P.  331.  F.  1-8.  P.  332. 
F.  1-3,  5.  —  P.  333.  F.  1—3,  6—13.  Col. 
P.  336.    F.  1—7.    P.  337.  F.  3— 8,  10,  11. 

—  18th  C.  P.  341.  F.  1,  4,  5.  P.  347. 
F.  1—4.  P.  348.  F.  1,  2,  5-7.  P.  349. 
F.  1,  2,  5-8,  11,  12.  P.  367.  F.  2,  3. 
P.  368.  F.  1.  P.  369.  F.  1,  4,  5.  P.  370. 
F.  1—7.  P.  371.  F.  2—9.  P.  372.  F.  1—6. 
P.373.  F.  1  — 10.  — Emp.P.3B0.F.4.P.381. 
F.  4.  P.  383.  F.  1—5.  P.  385.  F.  2,  9,  10. 
P.  386,  F.  1—5.  P.  387.  F.  1—3,  5.  P.391. 
F.  1-4,  6,  7.  P.  392.  F.  1—3.  —  Biederm. 
P.  394.  F.  1—7.  —  Neo  G.  P.  398.  F.  1,  2. 
6,  7.   P.  399.  F.  1,  3.    —   Pages  418.  603. 

Furniture    mounting.    —    Emp.    P.   384. 

F.  1-14.  P.  385.  F.  1,  5,  8,  11-13. 
Gable.    —    Goth.    P.  166.  F.  3,  4.    P.  179. 

F.  1.   —    Ren.    P.  217.  F.  7.  P.  235.  F.  5. 

P.  252.  F.  6.  P.  259.  F.  3.  P.  262.  F.  9.  — 

Page  281. 
Gallery.    —    Goth.    P.  135.    F.  2.   —   Ren. 

P.  231.    F.  1.    P.  236.    F.  2.    —    Lat.  Ren. 

P.  288.  F.  2. 
Gargoyle.   —    Goth.    P.  135.  F.  4.    P.  163. 

F.  6.   P.  173.  F.  10.   —   Jap.   P.  198.  F.  2. 
Gate.  —  Goth.  P.  158.  F.  2.  —  Ren.  P.  228. 

F.  4.    P.  229.  F.  5.    P.  230.   F.  5.    P.  231. 

F.  2.   P.  233.   F.  4.   P.  262.  F.  11.   —    Lat. 

Ren.    P.  271.   F.  5.    P.  289.   F.  4.    P.  303. 

F.  1.  P.  307.  F.  5.  —  Roc.  P.  314.  F.  5.  — 

18th  c.  P.  S52.  F.  2.  P.  375.  F.  1. 
Gate-pier.  —  Lat.  Ren.  P.  271.  F.  7.  P.  299. 

F.  5.  —  Col.  P.  335.  F.  1. 
Gateway.    —    Ren.    P.  229.    F.  5.    P.  262. 

F.  11.  —  18th  c.  P.  352.  F.  2. 
Girdle.  —  Preh.  P.  1.  F.18.  —  Ind.  P.16.F.2. 
Glass  door.  —   Roc.   P.  333.  F.  6,  7,  12,  13. 

—  18th  c.  P.  373.  F.  10. 

Glass  vessel.  —  Phoen.  P.  13.  F.  8,  19.  — 
Pomp.  P.  47.  F.  13.  —  Celt.  P.  51.  F.  8, 10. 
P.  53.  F.  17.  —  Mahom.  P.  120.  F.  6—8.  — 
Ren.  P.  212.  F.  2—4,8,9, 10.  P.223.F.3— 5. 
P.  245.  F.  2.  —  Neo  G.  P.  3)9.  F.  4.  — 
Page  205. 


638 


INDEX  OF  ILLUSTRATIONS. 


Glazed  bas-relief.  —  Pers.   P.  12.  F.  1,  2, 

11,  12. 
Glazed  brick.  —  Assyr.  P.  8.  F.  16.  P.  9. 

F.  3,  8,  10.   -   Pers.   P.  11.  F.  1,  2,8,9. 

P.  12.    F.  1,  2,  15.    P.  125.    F.  1.    P.  128. 

F.  5,  6.    P.  129.  F.  1—5. 
Glazed  terra-cotta.    —    Mahom.    P.  126. 

F.  1—17.  —  Ren.  P.  239.  F.  5,  6.  —  18th  c. 

P.  353.  F.  7.  —  Emp.  P.  390.  F.  3. 
Glove.  —  Goth.  P.  160.  F.  20. 
Goblet.  —   Assyr.    P.  10.  F.  16.    —    Goth. 

P.  143.    F.  3,  11.    P.  145.    F.  2.    P.  154. 

F.  3.    P.  167.  F.  3    P.  l-'S.  F.  3.   —   Ren. 

P.  212.   F.  7.   P.  245.  F.  3.   —  Lat.  Ren. 

P.  293.  F.  4.   —    Neo  G.  P.  399.  F.  4.  — 

Page  485. 
Gold  brocade.   —  Ren.  P.  246.  F.  2,  3,  5. 
Gold  embroidery.  —  Rom.  P.  83.  F.  9.  — 

Mahom.  P.  134.  F.3— 5.  —  Lat.  Ren.  P.275. 

F.  3. 
Gold  jewel.  —  Preh.  P.  1.  F.  19.  -  Egypt. 

P.  7.  F.  2,  9, 11, 12,  15,  17.  —  Assyr.  P.  10. 

F.  8—11,  24,  26,  27,  28.  —  Phoen.  P.  13. 

F.  5,  13,  18.  —  Ind.  P.  16.  F.  15,  16,  25, 

26.  —  Grec.  P.  17.  F.  2,  4—12,  16,  17.  — 

P.  30.   F.  1—5,  8.    -   Etrus.   P.  32.   F.  4, 

16,  17,  19,  20,  22,  25.  -  Rom.  P.  41.  F.  13. 

P.  43.  F.  1,  3—7,  13-18,  21,  22.    P.  44. 

F.  4.  —  Pomp.   P.  47.  F.  8,  9,  10,  16.  — 

Celt.  P.  50.  F.  18,  22,  24-27.  P.  51.  F.  2. 

P.  52.  F.  1-5,  7-13,  15,  16.    P.  53.  F.  9, 

13,  14,  23.  —  Early-Chr.  P.  59.  F.  1—4. 

P.  61.  F.  4—7.  —  Byz.  P.  66.  F.  1.  P.  68. 

F.  11,  17.   —   Romque  p.  75.  p.  18.  P.  84. 

F.  9.  —  Russ.  P.  HI.  F.  2-5.  —  Goth. 

P.  143.    F.  11.    P.  173.    F.  5,  9.    —    Ren. 

P.  223.    F.  2.    P.  232.    F.  6.    P.  244.    F.  2, 

4—9,  12.   P.  251.   F.  4,  9.   P.  255.  F.  4,  6. 

—  Lat.  Ren.  P.  292.  F.  1—4,  6,  9,  12.  — 
Roc.  P.  321.  F.  2,  3,  7-9.  -  18th  C. 
P.  350.  P.  7,  8.  P.  351.  F.  1—8.  —  Pages 
412,  427.  558. 

Gold  utensils.    —    Rom.    P.  100.    F.  5,  8. 

—  Russ.  P.  1 10.  F.  9,  10,  1 1.  —  Goth.  P.  173. 
F.6.  —  Chin.  P.  193.  F.4.  —  Ren.  P.  223. 
F.  13.  P.  258.  F.  1.  —  Lat.  Ren.  P.  293. 
F.  1,  4.  —  Roc.  P.  329.  F.  1—5,  9. 

Gold  vessel.  —  Early-Chr.  P.  62.  F.  5.  — 
Romque  p.  74.  F.  2,  8.  P.  75.  F.  5.  P.  84. 
F.  3,  5.  P.  96.  F.  9,  10.   —   P.  100.  F.  3, 


5,  8.  —  Russ.  P.  110.  F.  8.  —  Goth.  P.  143. 

F.  3.  —  Ren.  P.  212.  P.  1,  5,  6. 
Gothic  Flora.  —   Goth.   P.  137.   F.  1—11. 
Greaves.  —  Preh.  P.  1.  F.  15.  —  Grec.  P.  29. 

F.  1 1.  —  Etrus.  P.  32.  F.  7,  12,  14. 
Greek  fret.  —  Grec.  P.  27.  F.  2,  4,  13—16, 

21—25,  34,  38. 
Griffin's  head.  —  Rom.  —  Page  77. 
Grille.  —  RomQue  p.  83.  F.  1,  10,  11.  P.  99. 

F.  13.  -  Goth.  P.  181.  F.  6.  —  Ren.  P.  209. 

F.  6.  P.  242.  F.  6,  7,  8.  —  Lat.  Ren.  P.  272. 

F.  1.     P.  280.    F.  6.     P.  289.    F.  1,  3,  4. 

P.  303.   F.  1.   P.  306.  1—4.    P.  307.    F.  1. 

—  Roc.  P.  314.  F.  5.  P.  324.  F.  6.  —  Col. 
P.  338.  F.  2.  —  18th  c.  P.  346.  F.  1-3. 
P.  354.  F.  3—6.  P.  358.  F.  5.  P.  375. 
F.  1,  2.  —  Emp.  P.  393.  F.  5,  6. 

Grotesque  figure.   —    Roc.   P.  329.   F.  8. 
Guitar.  —  Egypt.  P.  7.  F.  10.  —  Ind.  P.  16. 

F.  20. 
Halberd.  —  Ren.  P.  222.  F.  1,  4,  5.   P.  243. 

F.  2,  6. 
Hall  clock.  —  Col.  P.  336.  F.  3. 
Handmirror.  —  Grec.  P.  28.  F.  1.  —  Ren. 

P.  225.  F.  2. 
Hanging  lamp.  —  Lat.  Ren.  P.  274.  F.  2,  3. 

—  18th  C.  P.  348.  F.  4. 

Harness.  —  Egypt.   P.  7.  F.  14.   —    Assyr. 

P.  9.  F.  11.  —  P.  10.  F.  25.  —  Grec.  P.  30. 

F.  19.    —    Goth.   P.  140.   F.  9.    —    Ren. 

P.  243.  F.  4,  5. 
Harp.  —  Ren.  P.  215.  F.  4. 
Head  dress.  —  Pers.  P.  12.  F.  10.  —  Celt. 

P.  50.   F.  14,  15.   —   Goth.   P.  140.   F.  4. 

P.  160.  F.  1,  3,  10,  11,  19.  P.  176.  F.  5.  — 

Ken.  P.  214.  F.  4.  —  Page  270. 
Helmet.  —  Preh.  P.  2.  F.  41.  —  Grec.  P.  29. 

F.  1,  2,  6,  7,  10,  13.  —  Etrus.  P.  32.  F.  2,  5. 

—  Rom.  P.  44.  F.  2,  6,  14.  —  Russ.  P.  1 10. 
F.7.  — Mahom.  P.  115.  F.  12.  — Goth.  P.  176. 
P.  1,  2.  —  Jap.  P.  199.  F.  5.  —  Ren.  P.  215. 
F.  5.  P.  222.  F.  2.  P.  223.  F.  11.  P.  232. 
F.  1. 

Hermes.  —  Ren.  P.  217.  F.  8.   P.  235.  F.  2. 
Hinge.  —  RomQue  p. 82.  F.  2.  —  Ren.  P.  242. 

F.  1,  3.  —  Lat.  Ren.  P.  289.  F.  5.  -  Page 

252. 
Holy-water  vessel.  —  Roc.  P.  323.  F.  1. 
Horn  vessel.  —  Goth.  P.  176.  F.4. 
Horse  Ring.  —  Ren.  P.  210.  F.  4. 
Hunting  horn.  —  Early-Chr.  P.  61.  F.  9. 


INDEX  OF  ILLUSTRATIONS. 


639 


Hunting  spear.  —   Preh.  P.  1.   F.  16,  42. 

—  Ind.  P.  16.  F.  10.  —  Ren.  P.  243.  F.  1. 
Incense  box.  —  Rom.  P.  41.  F.  4,  26. 
Initial.  —  Celt.  P.  54.  F.  2,  6.  P.  55.  F.  4, 

9.  P.  56.  F.  4.  —  Romque  p.  75.  p.  2,  7. 
P.  84.  F.  4.  P.  101.  F.  1—12.  —  Goth. 
P.  159.    F.  7,  8,  9,  10.    P.  174.    F.  1—13. 

—  Ren.  P.  214.  F.  3,  5.  P.  233.  F.  4,  5. 
P.  247.  F.  1,'  3,  13.  —  Lat.  Ren.  P.  295. 
F.  1,  2.  —  Pages  1,  3,  12.  29.  71.  107. 
114.  125.  137.  183.  193,  198.  235.  238. 
252.  254.  274.  298.  310.  339.  362.  377. 
388.  414.   419,  428.  453.  481.  487,  503. 

Ink-stand.  —  Page  507. 

Inlaid  work.  —  Ren.  P.  238.  F.  3. 

Inscription.  —  Byz.  P.  69.  F.  1.  —  Romque 

P.  106.  F.  5.  —  Pages  211.  228. 
Intarsia   work.   —  Ren.   P.  210.   F.   1,  6. 

P.  226.  F.  8,  11,  12. 
Interior  decoration.  —  Roc.  P.  322.  P.  326. 

—  Emp.  P.  389. 

Interlacing  ornament.  —  Celt.  P.  54.  F.  5, 
7_9,  11  —  14.  P.  55.  F.  8,  9,  11,  13,  15, 
16—20.  P.  56.  F.  1,  2,  4.  —  Early-Chr.  P.  57. 
F.  1—3,  5—12.  P.  58.  F.  6.  —  Byz.  P.  64. 
F.  4.  —  Romque  p.  79.  F.  5.  P.  86.  F.  3,  5 
P.  92.  F.3.  P. -93.  F.2.  P.  94.  F.  2.  P.  97. 
F.  4,  7.    P.  102.   F.  5,  7.    P.  103.  F.  1—6, 

10,  11.  P.  104.  F.  1—6.  P.  106.  F.  4.  — 
Russ.  P.  109.  F.  2.  P.  110.  F.  1—5,  14.  — 
P.  111.  F.  2.  —  Mahom.  P.  112.  F.  8,  14. 
P.  113.  F.  5,  13—16.  P.  114.  F.  3.  P.  115. 
F.  14—16.  P.  117.  F.  12.  P.  119.  F.  1-3, 
5—7.  P.  120.  3—5,  9—11.  P.  129.  F.  2, 
4,  5.  P.  133.  F.  1.  —  Goth.  P.  141.  F.  2,  6. 

—  Pages  110.  193.  197.  205.  235.  337. 
Iron-work,  see  Wrought  iron. 

Ivory  carving.  —  Preh.  P.  1.  F.  1—3.  — 

Assyr.  P.  8.  F.  3—9.  —  Rom.  P.  41.  F.  17. 

P.  44.  F.  10.  —  Byz.  P.  66.  F.  4.  P.  67. 

F.  2—4,  6.  —  Ren.  P.  225.  F.  1. 
Jewel-case.   —  Ind.   P.   16.  F.    12,   13.  — 

Grec.  P.  29.  F.  24. 
Jewelry.  —  Grec.  P.  30.  F.  1—5,  8.  —  Rom. 

P.  43.  F.  3,  4,  5,  6,  7,  10,  1 1,  13,  14.  —  Celt. 

P.  50.    F.  16.    P.  53.    F.  3.  —  Early-Chr. 

P.  59.    F.  4.  —  Romque  p.  75.   F.  18.  — 

Russ.  P.  110.  F.  11.  —  Goth.  P.  140.  F.  4. 

P.  160.    F.  2,  5,  9,  19.    P.  173.    F.  9.  — 

18th  c.   P.  350.  F.  7,  8.  P.  351.  F.  1—8. 


Jug.    —    Rom.    P.  41.    F.   16,    24.    P.  42. 

F.  20.  P.  47.  F.  2.  —  Ren.  P.  221.  F.  3, 

5,  6,  8.    P.  239.    F.  2,  4,  5.  —  Lat.  Ren. 

P.  285.   F.  4.    P.  292.   F.  5.   —    18th  c. 

P.  376.    F.  4. 
Key.  —  Rom.  P.  41.  F.  14.  —  Goth.  P.  180. 

F.  2,  4.  —  Ren.  P.  225.  F.  3.  P.  241.  F.  4. 

—  Roc.  P.  317.  F.  3.  P.  327.  F.  5. 
Key-hole  plate.   —  Romque   P.  105.   F.  5. 

—  Goth.  P.  169.  F.  8,  10.  —  Chin.  P.  192. 
F.  1.   P.  196.  F.  1.  —  Emp.   P.  386.  F.  6. 

—  Page  605. 

Keystone.  —  Lat.  Ren.  P.  276.  F.  4.  P.  291. 

F.  5.  —  18th  c.  P.  343.  F.  1. 
Knife.  —  Preh.  P.  2.  F.  6,  23,  30.  —  Egypt 

P.  6.  F.  14.  —  Celt.  P.  51.  F.  14.  —  Mahom. 

P.  130.  F.  9,  10.  —  Goth.  P.  140.  F.  1. 

P.  143.  F.  9.  —  Ren.   P.  223.  F.  1,  10. 

P.  245.  F.  6. 
Knife  handle.  —  18th  C.  P.  350.  F.  3. 
Knocker  see  Door-knocker. 
Krater.   —    Grec.   P.  26.   F.  16.   —   Russ. 

P.  110.  F.  9. 
Kylix.  —  Grec.  P.  26.  F.  14.  P.  28.  F.  9. 
Labrum.  —  Rom.  —  Page  72. 
Lace- work.  —  Ren.  P.  224.  F.  1,  2.  P.  244. 

F.  10,  11.   P.  353.   F.  3,  5.  —   Lat.  Ren. 

P.  273.  F.  2,  4.  P.  275.  F.  1,  2,  4.  P.  297. 

F.  1. 
Lacquer  Painting.  —  Jap.  P.  198.  F.  5—12. 

—  Page  323. 

Lamp.  —  Rom.    P.  42.   F.  13.    P.  43.   F.  9, 

12,  19,  20.  —  Pomp.  P.  47.  F.  12.  —  Romque 

P.  75.  F.  10.  —  Mahom.  P.  115.  F.  5,  6. 

P.  120.  F.  7.  —  Jap.  P.  197.  F.  3.  P.  288. 

F.  5.  —  Roc.  P.  332.  F.  4.  —  18th  c.  P.  353. 

F.  5,  6.  —  Page  205. 
Lamp  Stand.  —  Roc.  P.  333.  F.  8,  11.  — 

18th  c.  P.  349.  F.  1. 
Lance-head.  —  Preh.  P.  1.  F.  20,  40,  44. 

P.  2.  F.  26.  —  Mahom.  P.  133.  F.  3.  P.  134. 

F.  2. 
Lantern.  —  Rom.  P.  100.  F.  17.  —  18th  C. 

P.  353.  F.  4.  —  Page  480. 
Lead  work.    —    Lat.  Ren.    P.  299.    F.  6. 

P.  309.  F.  2. 
Leaf  cresting.  —  Goth.  P.  148.  F.  8,  9. 
Leaf-table.  —  Ren.  P.  249.  F.  1. 
Leather-work.   —   Egypt.   P.  6.  F.  13.  — 

Rom.  P.  41.  F.  7, 18, 27,  28.  —  RomQue  p.  75. 

F.  17.  —  Goth.  P.  140.  F.  9.  P.  160.  F.  17. 


640 


INDEX  OF  ILLUSTRATIONS. 


—  Ren.  P.  225.  F.  4.  P.  240.  F.  4.  18tn  c. 
P.  350.  F.  2.  —  Page  529. 

Lectern.   —    Goth.   P.  145.   F.  5.    P.   171. 

F.  4. 
Lettering.    —  Celt.   P.  56.   F.  4.   —  Byz. 

P.  66.  F.  10.  —  Romque  p.  lOl.  F.  1—13.  — 

Goth.   P.  159.  F.  1—8.   P.  174.  F.  1—13. 

P.  175.  F.  1—5.  —  Ren.  P.  214.  F.  2,  3,  5. 

P.  233.  F.  1—5.  P.  247.  F.  1-5,  8—13. 

P.  248.   F.  1,  2.  —  Lat.  Ren.   P.  295.  F.  1, 

2,  4,  5.  —  Roc.  P.  319.  F.  3,  5,  6. 
Lion.  —  Egypt.   P.  6.  F.  15,    18.  —  Assyr. 

P.  8.  F.  8,  16.  P.  9.  F.  12.  —  Grec.  P.  23. 

F.  4.   Romque    p.  88.    F.  4,  5.  —  Goth. 

P.  177.  F.  3.  —  Ren.  P.  217.  F.  9. 
Lock.  —  Goth.  P.  140.  F.  8.  P.  180.  F.  1,  3. 

—  Ren.  P.  242.  F.  2,  4.  —  Lat.  Ren.  P.  289. 
F.  2.  P.  291.  F.  5.  —  18th  C.  P.  347.  F.  6. 

Locksmith's  design.  —  Lat.  Ren.  P.  280. 

F.  4,  7. 
Looking-glass.  —  Ren.   P.   269.  F.  5.  — 

Roc.   P.  331.  F.  2,  4,  5.  P.  333.  F.  10.  — 

Emp.  P.  385.  F.  2.  P.  392.  F.  1. 
Lotus  capital.  —  Egypt.  P.  4.  F.  1—4,  9. 
Lotus  ornament.  —  Egypt.  P.  4.  F.  5,  6, 

8,  10.  P.  5.  F.  9,  13.  —  Ind.  P.  14.  F.  5-8. 

P.  15.  F.  9. 
Lyre.  —  Grec.   P.  28.  F.  11-13.  —  Page 

617. 
Madonna.  —  Early-Chr.  P.  61.  F.  10. 
Majolica.  —  Ren.  P.  211.  F.  2—5,  7,  8. 
Mantle.   —    Goth.    P.    144.   F.    1,    P.   181. 

F.  1.  —  Jap.  P.  200.  F.  6. 
Mantel-piece.   —  Ren.     P.  206.    F.  4.  — 

Lat.  Ren.   P.  303.  F.  5.   P.  309.   F.  1.   — 

Roc.  P.  331.  F.  5.  —  Col.  P.  334.  F.  1,  4.  6. 

P.  335.  F.  2,  5.  P.  338.   F.  1.   P.  339.  — 

18th  c.   P.  345.  F.  1.  P.  354.  F.  1.  P.  361. 

F.  4.  5.   P.  363.   F.  1.  P.  474.  F.  2,  4.  — 

Emp.   P.  380.  F.  1.   P.  388.   F.  3.  P.  392. 

F.  4. 
Manuscript    painting.    —    Celt.     P.    54. 

F.  1—4,  6—11.    P.  55.    F.  1—21.    P.  56. 

F.  1—4.  —  Byz.  P.  66.  F.  2.  10.  P.  68.  F.  7. 

Romque  P.  75.  F.  2.  7.  P.  84.  F.  4.  P.  101. 

F.l  — 13.  — Russ.  P.llO.F.1-5.  — Maliom. 

P.   130.    F.   14.    —    Goth.    P.   142.    F.    1. 

P.  154.  F.  4,  7.  8.  P.  170.  F.  5,  7.  P.  174. 

F.  1-13.   P.  183.  F.  1—8.  —  Pages  110. 

125.   137.    193.   197.  237.   238.  252.  254. 

274.  298.  310.  362. 


Marble  inlaid -work.  —   Mahom.   P.   134. 

F.  7. 
Marble  statue.  Rom.  P.  44.  F.  15. 
Marble  table.  —  Rom.  P.  47.  F.  1. 
Marquetry.  —  Goth.  P.  168.  F.  3. 
Mask.  —  Grec.  P.  29.  F.  22,  23.  —  Rom. 

P.  41.  F.  25.    —   Lat.  Ren.   P.  276.  F.  4. 

P.  287.  F.  4. 
Meadow-rue.  Goth.  P.  137.  F.  11. 
Medallion.  —  Ind.  P.  15.  F.  4.  P.  16.  F.  5. 

—  Rom.  P.  43.  F.  2.  —  Early-Chr.  P.  61. 
F.  7.  —  Byz.  P.  69.  F.  9.  —  Ren.  P.  255. 
F.  4.  —  Col.  P.  334.  F.  3. 

Medusa  head.  —  Rom.  P.  43.  F.  25. 
Meissener    Porcelain.    —    Roc.     P.  329. 

F.  1-8. 
Memorial  wreath.  —  Rom.  P.  41.  F.  13. 
Mercury,  head  of.  —  Rom.  P.  42.  F.  9. 
Mexican  Doorway.  —  Page  10. 
Military  badge.  —  Assyr.    P.  9.    F.  9.    — 

Rom.  P.  44.  F.  9,  11,  12. 

Minaret.  —  Mahom.  P.  127.   F.  10.  P.  131. 
F.  2,  3. 

Miniature  painting.  —  Byz.   P.  67.   F.  5, 

P.  68.  F.  1-6,  8—10. 
Mirror.  —  Grec.  P.  28.  F.  1.  —  Etrus.  P.  32. 

F.  13.  —  18th  c.  P.  268.  F.  2. 
Mirror  frame.  —  Lat.  Ren.  P.  293.  F.  5.  — 

Roc.  P.  325.  F.  2.  —  18th  c.  P.  349.  F.  8. 
Mirror  handle.  —  Grec.  P.  29.  F.  15. 
Mitre.  —   Romque   p.  lOO.   F.  7.   —   Ren. 

P.  251.  F.  1.  —  Page  427. 
Monogram.  —  Roc.  P.  319.  F.  4.  —  Page  J5*. 
Monogram  of  Christ.  —  P.  60.  F.  7. 
Monstrance.  Lat.  Ren.  P.  293.  F.  1. 
Monument.  —  Goth.  P.  148.  F.  3.  P.  167. 

F.  4.  -  Lat.  Ren.  P.  310.  F.  4. 
Mosaic.  —  Pers.  P.  12.  F.  15.  —  Grec.  P.  23. 

F.  3.  —  Pomp.  P.  46.  F.  1,  3,  6—8.  — 

Early-Chr.  P.  62.  F.  9,  10.  —  Byz.  P.  66. 

F.  5-9.  —  Romque  p.  go.  F.  7—12.  P.  91. 

F.  1,  3,  6,  7,  9.  —  Mahom.  P.  115.  F.  1-3, 

7,  13.   P.  120.  F.  3.  10,  11.  P.  134.  P.  7. 

P.  178.  F.  5.  —  Ren.  P.  209.  F.  4.  P.  211. 

F.  6.  P.  234.  F.  6.  —  Page  165. 
Moulding.   —   Grec.    P.  19.   F.  1—14.    — 

Romque  p.  99.  F.  1  —  12.  —  Goth.  P.  149. 

F.  3,  9.  P.  168.  F.  1.  —  Ren.  P.  266.  F.  3. 

-  Lat.  Ren.  P.  309.  F.  4-6.  P.  310.  F.  2,  3. 

—  Page  295. 


INDEX  OF  ILLUSTRATIONS. 


641 


Mural  painting  and  decoration.  —  Egypt. 
P.  4.  F.  10.  P.  5.  F.  10,  12,  14.  P.  6. 
F.  1—7.  P.  7.  F.  1,  10,  13.  —  Assyr. 
P.  8.  F.  12.  —  Grec.  P.  17.  F.  1.  — 
Etrus.     P.  31.     F.  4.     P.  32.     F.  9,  10. 

—  Pomp.  P.  45.  F.  2,  3.  P.  46.  F.  2,  4, 
5,  7.  P.  48.  F.  1-5,  9,  12,  13,  15,  16, 
17,  20,  21.  P.  49.  F.  1-10.  —  Romque 
P.  72.  F.  9-12.  P.  91.  F.  4,  5,  8.  P.  95. 
F.  1.  P.  97.  F.  7,  8.  —  Russ.  P.  111. 
F.  6.  —  Goth.  P.  139.  F.  1-13.  P.  177. 
F.  2,  6.  P.  178.  F.  6,  7.  P.  180.  F.  6. 
P.  181.  F.  4.  —  Jap.  P.  197.  F.  1,  5.  — 
Ren.  P.  204.  F.  2,  4,  5.  P.  215.  F.  1. 
P.  226.  F.  1,  3-6,  9,  10.  P.  240.  F.  1,  2, 
5.  —  Lat.  Ren.  P.  279.  F.  3.  P.  281.  F.  1, 
3,  4.  _  Roc.  P.  318.  F.  2.  —  18th  C. 
P.    340,    342.     F.    4,   5.     P.   371.     F.    1. 

—  Emp.  P.  380.  F.  2.  3.  P.  388.  F.  1. 
P.  389.  F.  1.  —  Pages  21,  41,  67,  69, 
115,  148.  592. 

Musical  Instrument  —  Egypt.   P.  7.  F.  6. 

—  Ind.  P.  16.  F.  20.  —  Grec.  P.  28.  F.  11 
—13.  —  Ren.  P.  215.  F.  4.  —  Lat.  Ren. 
P.  284.  F.  5,  6.  P.  301.  F.  8.  P.  363.  F.  2, 
3.  —  P.  369.  F.  1,  2.  —  Emp.  P.  391. 
F.  5. 

Nail-head.  —  Jap.  P.  197.  F.  6—11.  —  Ren. 

P.  227.  F.  1. 

Nautilus  goblet.  —  Lat.  Ren.  P.  293.  F.  4. 

Necklace.  —  Preh.  P.  1.   F.  37.  —  Egypt. 

P.  7.  F.  9.  —  Assyr.  P.  10.  F.  28.  —  Grec. 

P.  30.  F.  20,  23.  —  Rom.  P.  43.  F.  3.  — 

Celt.  P.  51.  F.  3-5.  P.  53.  F.  13.  -  Goth. 

P.  143.    F.  11.    P.  160.    F.  9.    —    18th  C. 

P.  351.  F.  3.  Page  66. 

Needlework.  —   Assyr.    P.  9.    F.  6.    P.  10. 

F.  27.  —  Ren.  P.  270.  F.  5.  7,  8,  11. 
Newel.  —  Goth.  P.  185.  F.  5.  —  Ren.  P.  263. 

F.  5. 
Ogee.  —  Grec.  P.  19.  F.  6—14.  —  Rom.  P.  33. 

F.  7,  8,  10,  11.  13,  14. 
Oinochoe.  —  Grec.  P.  26.  F.  1—4,  6,  7,  9, 

13. 
Order.  -  Grec.  P.  18.  F.  1.  P.  20.  F.  3,  8, 
9.  P.  21.  F.  1,  4,  10.  P.  22.  F.  1,  3.  — 
Rom.  P.  33.  F.  1,  2.  P.  34.  F.  1,  2.  P.  35. 
F.  2,  9.  P.  36.  F.  1,  3.  P.  45.  F.  1,  7.  — 
Ren.  P.  229.  F.  2.  —  Lat.  Ren.  P.  308. 
F.  1,  3.  _  18th  C.  P.  343.  F.  5,  6.  P.  352. 
F.  1.    P.  355.    F.  1.    P.  356.    F.  1-3. 

SPELT Z.  Styles  of  Ornament. 


P.  357.    F.  1—3.    P.  358.   F.  1.  3.    P.  359. 
F.  1-3.    P.  360.  F.  4,  7.    P.  361.  F.  1,  2. 
P.  362.    F.  2.    —     Emp.    P.  377.     F.  1. 
P.  389.  —  Neo  G.  P.  396.  F.  2. 
Organ.  —  Lat.  Ren.  P.  301.  F.  8.  —  18th  c. 

P.  363.  F.  2,  3. 
Overmantel.  —  Roc.  P.  333.  F.  10. 
Paddle.-  Preh.  P.  3.  F.  12.  13. 
Pagoda.  —  Chin.  P.  189.  F.  11,  12. 
Painted  ornament.  See  Mural  painting. 
Pallet  knife.  —  Preh.  P.  3.  F.  7. 
Panel.  —   Early-Chr.   P.  60.    F.  6.  —  Byz. 
P.  65.  F.  1.  P.  66.  F.  3, 6.  —  Mahom.  P.  1 17. 
F.  7.    P.  118.    F.  1-6.    P.  121.    F.  2,  3. 
P.  124.  F.  6.  —  Goth.  P.  150.  F.  1.  P.  156. 
F.  2-4.    P.  157.    F.  6.    P.  164.    F.  6,  7. 
P.  187.    F.  4.  —  Ren.    P.  210.    F.  1,  5,  6. 
P.  217.  F.  5.    P.  219.    F.  3,  6,  7.    P.  230. 
F.  6.  P.  238.  F.  5,  6,  8.  P.  240.  F.  5.  P.  249. 
F.  3.    P.  260.   F.  1,  2.     P.  263.    F.  1,  3. 
P.  264.   F.  6.    P.  265.    F.  2,  4,  6.  —   Lat. 
Ren.    P.  301.    F.  6.    P.  303.   F.  6.    P.  304. 
F.  3.  —  18th  c.  P.  341.  F.  2.  P.  352.  F.  3. 
P.  369.  F.  3.  P.  371.  F.  1.  P.  374.  F.  3,  6. 
—  Page  288. 
Papyrus  capital.  —  Egypt.  P.  4.  F.  9.  P.  5. 

F.  1.  5,  6,  8. 
Papyrus  ornament.   —   Egypt.    P.  4.  F.  7, 

10.  P.  5.  F.  11. 
Palm  tree  capital.  —    Egypt.   P.  5.   F.  2, 

4,  14. 
Parapet.  —  Byz.  P.  69.  F.  3.  —  Goth.  P.  135. 
F.  2.  P.  144.  F.  3,  4.   P.  178.  F.  2.  P.  186. 
F,  4.  _  Page  238. 
Parquetry.  —  Emp.  P.  390.  F.  1. 
Parsley.  —  Goth.  P.  137.  F.  8. 
Partisan.  —  Ren.  P.  251.  F.  6. 
Paten.  —  Romq"«  P.  84.  F.  12. 
Pea-tendril.  —  Page  222. 
Pedestal.  —  Mahom.  P.  122.  F.  2,  4.  —  Ren. 
P.  218.  F.  3.  P.  235.  F.  9.  —  Roc.  P.  333. 
F.  8,  9,  11.  -  Page  112. 
Pediment.  —  Grec.  P.  18.  F.  1,  2. 
Pendant.  —  Ren.  P.  232.  F.  6.  P.  244.  F.  2, 
5,  7.  12.   P.  255.  F.  6.  -  18th  C.  P.  351. 
F.  5,  8. 
Perfuming  censer.   —    Emp.  P.  387.  F.  4. 
Piano.  —  18th  C.  P.  369.  F.  1,  2.  —  Emp. 

P.  391.  F.  5. 
Pier.  -  Ind.  P.  14.  F.  10,  14,  15.  P.  15.  F.  8. 
Byz.  P.  70.  F.  1,  3.  —  Romque  P.  76.  F.  15, 

41 


642 


INDEX  OF  ILLUSTRATIONS. 


16.  P.  80.  F.  4,  7.  —  Mahom.  P.  132.  F.  3. 

—  Goth.  P.  177.  F.  4.  —  Ren.  P.  264.  F.  4. 

—  18th  c.  P.  372.  F.  4.  P.  379.  F.  1. 
Pierced  openings.  —  Mahom.  P.  112.  F.  6. 

P.  113.  F.  5,  7,  11  —  16.  P.  132.  F.  1,  2. — 
Ren.  P.  216.  F.  3. 
Pilaster.  —  Rom.  P.  38.  F.  1,  5.  —  Ren. 
P.  205.  F.  1.  2.  P.  218.  F.  2,  5.  P.  227. 
F.  3,  4.  P.  240.  F.  5.  P.  256.  F.  7.  —  Lat. 
Ren.  P.  287.  F.  3.    —    Roc.  P.  323.  F.  2. 

—  18th  C.  P.  356.  F.  3.  —  Emp.  P.  386. 
F.  7. 

Pillar.  —    Ind.  P.  14.  F.  5,  9,  11.  —    Ren. 

P.  235.  F.  8. 
Pin.   —   Preh.  P.  1.  F.  45.   —   Rom.  P.  43. 

F.  1,  5,  7,  16-18,  21,  22. 
Plaster-work  see  Ceiling  Ornamentation  and 

Stucco. 
Plate.  —  Mahom.  P.  133.  F.  6.  —  Chin.  P.  192. 

F.  4.  —  Jap.  P.  198.  F.  1.  —  Ren.  P.  223. 

F.  7.  P.  268.  F.  1,  6.  —  Roc.  P.  328.  F.  8. 

18th  C.  P.  376.  F.  1,  2,  6—9. 
Plinth.  —  Ren.  P.  235.  F.  9. 
Pocket.    —    Byz.   P.  70.   F.  2.    —   Romque 

P.  88.  F.  3-5.  —  Goth.  P.  160.  F.  7. 
Pommel.  —   Roc.   P.  316.   F.  4.  —   18'h  C. 

P.  346.  F.  5. 
Porcelain.   —    Chin.  P.  190.  F.  2—5,  7,  8. 

P.  191.  F.  1—4.    P.  192.  F.  3—6.    P.  193. 

1_3,  8.  —  Lat.  Ren.  P.  305.  F.  5.  —  Roc. 

P.  328.  F.  1—8.  —  Emp.  P.  385.  F.  4. 
Porch.  —  Ren.  P.  261.  F.  3. 
Portal.  —  Assyr.  P.  9.  F.  10.  —  Ind.  P.  14. 

F.  10.   —  Early-Chr.    P.  58.   F.  6—8.    - 

Romque  p.  87.  F.  5.  P.  88.  F.  1—5.  P.  93. 

F.  1.  P.  98.   F.  5-7.    P.  103.   F.  1,  3,  7. 

P.  104.  F.  1—6.   P.  107.  F.  6.  —  Mahom. 

P.  117.  F.  8.  P.  131.  F.  4,  —  Goth.  P.  163. 

F.  3.  —  Ren.  P.  208.  F.  1. 
Pot-hanger.  —  Romq^e  p.  i05.  F.  3. 
Pottery.  —  Preh.  P.  1.  F.  6,  7,  11,  12,  34, 

39,  40.  —  P.  2.  F.  5,  9,  10,  12.  16,  17,  19, 

20,  21,  43,  45.  —  Egypt.  P.  7.  F.  4,  5.  — 

Assyr.    P.  10.  F.  7,  13,  14,  15,  18,  20.  — 

Pers.  P.  12.  F.  4—6.  —  Phoen.  P.  13.  F.  6, 

7,  9,  11,  12.  —  Ind.  P.  16.  F.  7,  18,  28,  30, 

31.  —  Grec.  P.  17.  F.  13.  P.  26.  F.  1-17. 

—  Rom.  P.  41.  F.  16,  24.  P.  42.  F.  13. 
P.  43.  F.  12.  —  Pomp.  P.  47.  F.  12.  — 
Ceh.  P.  51.  F.  9,  11,  13.  P.  53.  F.  17,  18, 
19,  20-22. -Ren.  P.  211.  F.  1-8.  P.  221. 


F.  1-6,  8.    P.  268.    F.  1—4.  —  Lat.  Ren. 

P.  273.    F.  3.    —    P.  285.    F.  2,  3,  4.  — 

Roc.    P.  328.   F.  1—8.  —    18th  Q   P.  376. 

F.  1—9.  —   Neo  G.   P.  398.  F.  4.   P.  400. 

F.  4.  —  Page  485. 
Powder-horn.  —  Mahom.  P.  133.  F.  5. 
Processional    crucifix.    —    Goth.    P.  143. 

F.  5.  —  Roc.  P.  313.  F.  4. 
Pulpit.   —   Romque  p.  86.    F.  1.    —    Goth. 

P.  153.    F.  5.    P.  165.    F.  6.    P.  327.    F.  1. 

—  18th  c.  P.  353.  F.  1—3. 
Purse.  —  Goth.  P.  140.  F.  7. 

Pyx.  —  Rom.  P.  96.  F.  9,  10.  P.  100.  F.  3, 

5,  8. 
Pyxis.  -  Grec.  P.  26.  F.  17. 
Quiver.  —   Rom.  P.  43.  F.  23.  —  Mahom. 

P.  133.  F.  4.  —  Goth.  P.  167.  F.  2. 
Railing.    —    Goth.    P.  181.    F.  6.    —   Ren. 

P.  209.    F.  6.    P.  231.    F.  3.  5.  6.    P.  242. 

F.  6—8.  P.  306.  F.  1—10. —  Emp.  P.  393. 

F.  5,  6. 
Rainwater  pipe  head.  —  Lat.  Ren.  P.  299. 

F.  6.  P.  309.  F.  2. 
Razor.  —  Etrus.  P.  32.  F.  11. 
Reading  desk.  —  Early  Chr.  P.  62.  F.  6.  — 

Ren.  P.  232.  F.  5.  —  Lat.  Ren.  P.  282.  F.  2. 
Relief  Ornament.    —   Preh.   P.  1.  F.  2,  23. 

31.  P.  2.  F.  18,  37—39.  P.  3.  F.  4.  9—13. 

—  Egypt.  P.  4.  F.  5—7.  P.  7.  F.  2,  17.  — 
Pers.  P.  12.  F.  13,  14.  —  Phoen.  P.  13. 
F.  1,  21.  —  Ind.  P.  14.  F.  4,  9,  12.  P.  15. 
F.  9,  11,  12.  P.  16.  F.  21.  —  Grec.  P.  17. 
F.  3,  15—19.  P.  18.  F.  4,  8.  P.  19.  F.  1  —  10. 
P.  21.  F.  2,  6,  7,  9,  11,  12.  P.  25.  F.  2,  3, 
5.  —  Etrusc.  P.  31.  F.  1,  3,  8,  10.  P.  32. 
F.  13,  24.  P.  33.  F.  1-4,  8.  —  Rom.  P.  43. 
F.  25.  P.  44.  F.  1,  3,  7,  13.  —  Goth.  P.  160. 
F.  1—20.  P.  184.  F.  4.  — Pages  3,  10.  45, 
183. 

Reliquary.   —    Celt.  P.  50.  F.  17.   —   Byz. 

P.  67.  F.  2.  P.  68.  F.  16.  —  Romque  p.  74. 

F.  10.   P.  77.  F.  7.  —  Goth.   P.  140.  F.  3. 

P.  176.  F.  5.  P.  181.  F.  7.  —  Ren.  P.  258. 

F.  1.  —  Lat.  Ren.  P.  290.  F.  3. 
Rhyton.  —  Egypt.  P.  7.  F.  6. 
Rib.    -  Romque  p.  76.  F.  12. 
Ridge-tile.  —  Jap.  P.  199.  F.  2. 
Ring.   -    Egypt.  P.  7.  F.  12,  15.    -    Grec. 

P.  17.  F.  6.  —  Celt.  P.  53.  F.  23.  —  Byz. 

P.  66.  F.  1. 
Rock-crystal  vessel.  —  Ren.  P.  223.  F.  5. 


INDEX  OF  ILLUSTRATIONS. 


643 


Roof.  —  Grec.  P.  23.  F.  11.  —  Ren.  P.  265. 

F.  1. 
Roof,    open  -  timber.    —    Goth.    P.    152. 

F.  1-10. 
Roof  termination.   —   Chin.  P.  189.  F.  8. 
Rococo  forms.  —  Roc.  P.  312.  F.  1—8. 
Rose-window.  —  Romque  P.  86.  F.  4.  P.  87. 

F.  4.  —  Goth.  P.  166.  F.  5.  —  Pages  249. 

274,  288. 
Sacrificial  implements.    —    Grec.    P.  30. 

F.  12,  13.  —  Rom.  P.  41.  F.  3.  12,  21,23. 
Saddle.   —    Ren.    P.  251.  F.  2.  —    18th  c. 

P.  350.  F.  2. 
SandaL  —  Egypt.  P.  6.  F.  8,  13. 
Sarcophagus.    —    Etrusc.    P.  31.   F.  7.   — 

—  Early  Chr.  P.  62.  F.  2,  7,  8.  —  Romque 
P.  94.  F.  7. 

Satyr.  —  Rom.  P.  42.  F.  8. 

Scabbard.  —  Preh.  P.  1.  F.  30.  —  Jap.  P.  196. 

F.  5.  —  Page  335. 
Scales.  —  Rom.  P.  42.  F.  7. 
Scissors.  —  Preh.  P.  1.  F.  35.  —  Ren.  P.  222. 

F.  9.  —  Roc.  P.  316.  F.  1. 
Screen.  —  Jap.  P.  199.  F.  4.  —  Emp.  P.  386. 

F.  2. 
Seal.  —  Romque  P.  84.  F.  7. 
Sedan  chair.  —  Rom.  P.  42.  F.  10.  —  Rom. 

P.  100.  F.  9.   —  Lat.  Ren.    P.  282.    F.  5. 

P.  367.  F.  1. 
Secretaire.    —    Ren.    P.  258.   F.  2.    P.  333. 

F.  3.  —  18th  c.  P.  372.  F.  5. 
Sepulchral  monument.  —  Romque  p.  lOO. 

F.  11.    —   Ren.    P.  203.   F.  1,  7.    P.  206. 

F.  1.  —  Page  215. 
Sepulchral   urn.  —   Preh.   P.  1.   F.  12,  13, 

34.    P.  2,  F.  5,  16,  17,  21.  —  Ind.  P.  16. 

F.  18.  —  Celt.  P.  53.  F.  21. 
Sewing-table.  —  Biederm.  P.  394.  F.  6,  7. 
Sgraffito  work.  —  Ren.  P.  202.  F.  1.  P.  203. 

F.  8—10.  P.  204.  F.  3. 
Shaft  of  column.  —  Egypt.  P.  4.  F.  1.  P.  5. 

F.  1.  P.  7.  F.  4.  —  Ind.  P.  14.  F.  5,  11.  P.  15. 

F.  8.  —  Grec.  P.  17.  F.  15.  —  Rom.  P.  34. 

F.  7.   P.  36.  F.  2.    —   Pomp.  P.  45.   F.  1, 

2,  7.  Romque  p.  71.  F.  8.  P.  73.  F.  4.  P.  77. 

F.  6.    P.  78.    F.  2,  8.    P.  86,    F.  5.    P.  89. 

F.  5.    P.  102.    F.  2.    P.  103.    F.  2,  9.  — 

Russ.  P.  109.  F.  6.  —  Mahom.  P.  112.  F.  5. 

P.  122.  F.  3.  P.  125.  F.  3.  P.  127.  F.  9,  11. 

—  Goth.  P.  162.  F.  5.  P.  179.  F.  2.  —  Ren. 
P.  201.    F.  3.    P.  203.   F.  1.    P.  209.   F.  3. 


P.  216.    F.  4.    P.  228.    F.  3.    P.  234.    F.  3. 

P.  235.  F.  1,  5.   P.  236.  F.  1.   P.  252.  F.  4. 

P.  253.    F.  1.    P.  257.    F.  5.    P.  259.  F.  2. 

P.  261.    F.  3.    P.  263.    F.  2.    P.  268.  F.  5. 
Shield.  —  Preh.  P.  2.  F.  42.  —  Ind.  P.  16. 

F.  21.  —  Grec.  P.  29.  F.  12.  —  Rom.  P.  44. 

F.  7.  —  Romque  p.  100.  F.  6.  —  Lat.  Ren. 

P.  272.   F.  2.    P.  303.   F.  7.  —  Page  234. 
Ship.  —  Grec.  P.  25.  F.  4.  P.  27.  F.  17.  — 

Romque  p.  100.  F.  2,  16. 
Shoe.  —  Egypt.  P.  6.  F.  8,  13.  —  Pers.  P.  12. 

F.  12.  —  Grec.  P.  30.  F.  6,  7.  —  Rom.  P.  41. 

F.  7,  27,  28.   P.  44.  F.  15.    P.  46.   F.  4.  — 

Celt.  P.  53.  F.  15.  —  Romque  p.  75.  F.  17. 

—  Goth.    P.  160.  F.  6,  17.    —   Page  529. 
Shoe  buckle.  —  Roc.  P.  327.  F.  2,  3. 
Shrine.  —   Romque   P.  77.   F.  1—6,  8—12. 

—  Jap.  P.  196.  F.  9. 
Sickle.  —  Preh.  P.  1.  F.  43. 
Sideboard.  —  Col.  P.  336.  F.  1.  —  18th  c. 

P.  370.  F.  1. 
Sign.  —  Lat.  Ren.  P.  298.   F.  1—3.   P.  307. 

F.  1.  6. 
Signature  tablet.    —   Romque  p.  72.  F.  7. 
Silk.  —  Jap.  P.  198.  F.  3.  —  Ren.  P.  224. 

F.  3.  —  Lat.  Ren.  P.  275.  F.  6.  —  Page  617. 
Silk  damask.  —  Ren.  P.  213.  F.  5. 
Silver  relief.    —    Russ.    P.  109.    F.  4.    — 

Goth.  P.  176.  F.  4.  —  Ren.  P.  244.  F.  1. 

P.  260.  F.  9. 
Silver    utensils.    —    Rom.    P.  41.    F.  11. 

P.  42.  F.  16, 19,  21.  —  Romque  p.  84.  F.  12. 

P.  lOa  F.  14.  —  Goth.  P.  143.  F.  5—7,  9. 

—  Ren.  P.  223.  F.  1,  8,  10,  14.  P.  241. 
F.  3.  P.  245.  F.  4,  6.  P.  258.  F.  2.  —  Lat. 
Ren.  P.  294.  F.  4.  —  Roc.  P.  313.  F.  4. 
P.  315.  F.  5.  P.  321.  F.  11,  12.  P.  327. 
F.  2-6.  —  18th  c.  P.  349.  F.  3.  P.  350. 
F.  3,  4.  —  Emp.  P.  385.  F.  6,  7.  —  Pages 
610.  621. 

Silver  vessel.  —  Pers.  P.  12.  F.  16,  17.  — 
Phoen.  P.  13.  F.  21.  —  Grec.  P.  30.  F.  24. 

—  Rom.  P.  42.  F.  4,  17.  P.  43.  F.  26-28. 

—  Pomp.  P. 47.  F. 2-4, 7.  —  Mahom.  P.  133. 
F.  8.  —  Goth.  P.  143.  F.  6,  10.  P.  154. 
F.  3.  P.  167.  F.  3.  P.  173.  F.  3.  P.  176. 
F.  3.  —  Ren.  P.  212.  F.  7.  P.  222.  F.  8. 
P.  245.  F.  3,  5,  7.  —  Lat.  Ren.  P.  285.  F.  1,5. 
P.  292.  F.  5.  —  Roc.  P.  316.  F.  5.  P.  313. 
F.  1.  _  18th  C.  P.  368.  F.  4,  5.  —  Emp. 
P.  381.  F.  2.  P.  387.  F.  4. 


41* 


644 


INDEX  OF  ILLUSTRATIONS. 


Sleigh.  —  Roc.  P.  321.  F.  10. 

Sofa.  —  Lat.  Ren.  P.305.  F.6.  —  Roc.  P.  320. 

F,  1.  —  Col.  P.  337.  F.  4,  6,  8.  —  18th  C. 

P.  347.   F.  1.   P.  349.  F.  12.   P.  370.  F.  7. 

—  Emp.  P.  387.  F.  2,  5.  P.  389.  F.  2. 
P.  391.  F.  1,  2.  P.  392.  F.  2.  —  Biederm. 
P.  394.  F.  5.  —  Neo  G.  P.  398.  F.  6,  7. 

Spandrel.  —  Mahom.  P.  117.  F.  1,  2.  P.  126. 

F.  5,  6.   P.  127.   F.  1,  2.  —  Golh.  P.  138. 

F.  1.  8.  P.  146.  F.  1,  4.  P.  148.  F.  4.  P.  150. 

F.  10.    P.  151.    F.  4.    P.  163.  F.  1.  P.  164. 

F.  14.    P.  184.    F.  1,  2.    —    Ren.   P.  227. 

F.  7.  P.  264.  F.  4.  P.  265.  F.  1. 
Spear-head.    —   Preli.    P.  1.   F.  16,  42.  — 

Grec.  P.  29.  F.  16.  —  Etrusc.  P.  32.  F.  26. 
Sphinx.  —  Egypt.  P.  6.  F.  9,  11.  —  Pomp. 

P.  48.  F.  14. 
Spinet.  —  Lat.  Ren.  P.  284.  F.  5,  6. 
Spire.  —  Goth.  P.  188.  F.  4. 
Spoon.  —  Egypt.  P.  6.  F.  10.  —  Assyr.  P.  10. 

F.  23.  —   Rom.   P.  41.  F.  11.  —  Romque 

P.  100.  F.  14.   —   Russ.  P.  110.  F.  10.  — 

Ren.  P.  223.  F.  6,  8.   P.  241.  F.  3.   P.  245. 

F.  4,  6.  —  Roc.  P.  321.  F.  11,  12. 
Spur.  —  Goth.  P.  160.  F.  12. 
Stained  glass.  —  Romque  p.  74.  p.  11.  P.  83. 

F.3,6.  —  Goth.  P.  141.  F.  5, 6.  P.  154.  F.9, 10. 

P.  155.  F.  1—8.  P.  165.  F.  1,  3— 5.—  Ren. 

P.  209.   F.  2.    P.  240.   F.  3.    P.  252.   F.  1. 

—  Page  361. 

Stair -balustrade.    —    Ren.    P.  209.   F.  9. 

P.  237.  F.  4.   P.  261.  F.  4.   P.  262.  F.  6,  7. 

P.  266.  F.  4.  —  Lat.  Ren.  P.  272.  F.  3,  4. 

P.  303.  F.  2. 
Staircase.  —  Ren.  P.  262.  F.  6.  P.  266.  F.  4. 

P.  303.  F.  2. 
Stair  newel.  —  Goth.  P.  185.  F.  5. 
Stair  rail.    —    Ren.    P.  209.   F.  9.    P.  237. 

F.  4.  —  Lat.  Ren.  P.  272.  F.  4. 
Stalactite.  —  Mahom.  P.  112.  F.  12.  P.  122. 

F.  1.  P.  124.  F.  3.  P.  127.  F.  9— 11. 
Stall.  —  Romqi'e  p.  73.  F.  3.  —  Goth.  P.  142. 

F.  2,  5.   P.  154.  F.  1,  6.  P.  157.  F.  1,  2,  5. 

P.  171.  F.  5,  7.  P.  187.  F.  5.  —  Ren.  P.  217. 

F.  7.  P.  238.  F.  6.  P.  254.  F.  4.  —  Lat.  Ren. 

P.  299.  F.  2.  P.  301.  F.  3-5,  7. 
Standard.   —    Assyr.    P.  9.   F.  9.   —   Rom. 

P.  44.  F.  9,  11. 
Statue.  —  Egypt.  P.  4.  F.  11.  —  Grec.  P.  18. 

F.  5.  P.  21.  F.  2,  10.  P.  29.  F.  15.  —  Etrus. 


P.  31.  F.  7.  —  Rom.  P.  44.  F.  15.  —  Ren. 
P.  206.  F.  3,  4.   P.  207.  F.  1.   P.  208.  F.  7. 

—  Page  66,  91. 

Stele.  —  Grec.  P. 21.  F.9,  11, 12.  P. 29.  F.  19. 
Stone  figure.  —  Egypt.  P.  6.  F.  9,  10, 15, 18. 

P.  7.  F.  3.    -  Assyr.  P.  9.  F.  13.  —  Ind. 

P.  15.    F.  6.    —    Ren.   P.  228.   F.  1.   — 

Page  91. 
Stonehenge.  —  Page  2. 
Stoneware.  —  Ren.  P.  239.  F.  2,  4.  P.  268. 

F.  2-4,  6. 
Stool.  —  Assyr.  P.  10.  F.  6.  —  Ind.  P.  16. 

8.  —  Romque  p.  75.  F.  11.  P.  84.  F.  8.  — 

Goth.   P.  142.  F.  4.  —   Ren.  P.  269.  F.  7. 

—  LaL  Ren.  P.  291.  F.  4.  —  Emp.  P.  385. 
F.  2,  3.  P.  387.  F.  3.  P.  389.  F.  4.  P.  391. 
F.  4.  —  Page  29. 

Stove.  —  Goth.  P.  167.  F.  1.  —  Ren.  P.  239. 
F.  1.  P.  258.  F.  4.  —  Roc.  P.  327.  F.  7.  — 
18th  C.  P.  353.  F.  7.  —  Emp.  P.  390. 
F.  2,  3. 

Stucco  ornament.   —   Russ.    P.  108.   F.  5. 

—  Mahom.  P.  113.  F.  1—4,  8—10,  13—15. 
P.114.  F.  1.  P.  116.  F.  3.  P.  117.  F.  1—10, 
12.  P.  118.  F.  1—6.  P.  120.  F.  4,  5,  9,  11. 

—  Ren.  P.  201.  F.  3.  P.  237.  F.  1,  2. 
P.  256.  F.2— 6.  P.  261.  F.  6.  P.  262.  F.  3. 
P.  266.  F.5.  P.  279.  F.  3,  4.  P.  281.  F.  1, 
2.  —  Lat.  Ren.  P.  301.  F.9,  10.  P.  311. 
F.  2,  3.  —  Roc.  P.  327.  F.  8.  —  Col.  P.  338. 
F.  2.  —  18th  C.  P.  341.  F.  2.  P.  342.  F.  1, 
2,  4.  P.  364.  F.  1—4.  P.  366.  F.  1.  P.  374. 
F.  1,  7.  —  Page  211. 

Stuff  pattern.  —  Jap.  P.  200.  F.  2,  3,  5,  7. 

—  Ren.  P.  213.  F.  6,  6.  P.  224.  F.  3,  7. 
P.  246.    F.  1—5.    P.  270.    F.  1-5,  7—12. 

—  Lat.  Ren.  P.  275.  F.  5,  6.  P.  286.  F.  2,  3. 

—  Biederm.  P.  395.  F.  1,  2,  4-7.  —  Neo  G. 
P.  400.  F.  2,  3.  —  Page  307. 

Sugar  bowl.  —  P.  368.  F.  4. 
Sugar-tongs.  —  Roc.  P.  329.  F.  9. 
Sunshade.  —  Grec.  P.  30.  F.  14.  —  Mahom. 

P.  134.  F.  3. 
Sundial.  —  Ren.  P.  301.  F.  1. 
Sword.  —  Preh.  P.  1.  F.  26,  39.  P.  2.  F.  44. 

—  Assyr.  P.  10.  F.  5.  —  Etrus.  P.  32. 
F.  1,  6,  21.  —  Celt.  P.  52.  F.  6.  P.  53. 
F.  1, 2.  —  Early-Chr.  P.  61.  F.  2.  —  Mahom. 
P.  120.  F.  2.  P.  160.  F.  14— 16.  —  Jap. 
P.  196.  F.  5,  7.  —  Ren.  P.  215.  F.  3.  P.  222. 
F.  6.  P.  251.  F.  5,  7,  8.  —  Page  335. 


INDEX  OF  ILLUSTRATIONS. 


645 


Sword-hilt.  —  Preh.  P.  2.  F.  27,  44.  —  Rom. 
P.  44.  F.  10.  —  Romque  p.  lOO.  F.  4.  — 
Ren.  P.  222.  F.  6.  —  Lat.  Ren.  P.  292. 
F.  7.  —  Roc.  P.  327.  F.  4,  6. 

Symbol.  —  Egypt.  P.  4.  F.  7.  P.  7.  F.  7,  8. 

—  Assyr.  P.  8.  F.  11, 12.  P.  9.  F.  8.  —  Pers. 
P.  12.  F.  9. 

Syren.  —  Assyr.  P.  8.  F.  13. 

Tabernacle  door.  —  Goth.  P.  145.  F.  3.  — 

Ren.  P.  238.  F.  7. 
Table.  —  Grec.  P.  28.  F.  15,  20.  —  Rom. 

P.  41.  F.  6.  P.  42.  F.  2,  6.  —  Pomp.  P.  47. 

F.  1,  5.  —   Goth.  P.  171.  F.  6.  —  Ren. 

P.  210.  F.  3.   P.  220.  F.  6.   P.  249.  F.  1, 

13.  P.  250.  F.  8,  13.  P.  253.  F.  7.  P.  255. 

F.  1.   P.  269.  F.  7.   —   Lat.  Ren.  P.  284. 

F.  4.  P.  291.  F.    1,   2.   P.  305.  F.   2.  — 

18th  C.  P.  341.  F.  1.   P.  347.  F.  2.   P.  348. 

F.  2.  P.  349.  F.  2.  —  Emp.  P.  383.  F.  2—4. 

P.  391.  F.  6.  —  Biederm.  P.  394.  F.  4.  — 

Neo  G.  P.  399.  F.  1,  3.  —  Page  413. 
Table  centre-piece.  —  Roc.  P.  318.  F.  5. 
Table  cover.  —  Lat.  Ren.  P.  275.  F.  3. 
Tambourine.  —  Grec.  P.  30.  F.  11. 
Tankard.  —  Goth.  P.  143.  F.  6.  —  Ren. 

P.  222.  F.  10.  P.  245.  F.  7.  P.  268.  F.  3. 
Tazza.  -  Ren.  P.  212.  F.  1,  8,  9.  —  Neo  G. 

P.  398.  F.  3.  —  Page  626. 
Tea-pot.  —  Chin.  P.  190.  F.  4,  5.  P.  193. 

F.  5.  —  Page  338. 
Tea  urn.  —  Page  338. 
Tee,  iron.  —  Ren.  P.  252.  F.  5. 
Telamonic  support.  —  Ren.  P.  209.  F.  7. 
Terminal.   —   Ren.    P.  267.   F.  2.  —   Lat. 

Ren.  P.  304.  F.  4.  —  Roc.  P.  314.  F.  4. 
Terra  cotta  plaque.  —  Ren.  P.  239.  F.  3,  6. 
Textile  ornament.  —  Preh.  P.  3.  F.  8.  — 

Assyr.  P.  9.  F.  6.   P.  10.  F.  27.   —  P.  16. 

F.  29,  34.  —  Grec.   P.  28.  F.  2.   —   Celt. 

P.  50.  F.  1,  3.  —  Romque  p.  83.  F.  7—9. 

P.96.  F.  11.  —  Russ.  P.  111.  F.  1.  -  Mahom. 

P.  114.  F.  2.  P.  130.  F.  13.  P.  133.  F.  2,  4. 

—  Goth.  P.  140.  F.  6.  P.  141.  F.  1,  3,  7,  9. 
P.  143.  F.  1,  2.  P.  144.  F.  1.  P.  172. 
F.  1-8.   P.  181.  F.  1,  2,  5.   P.  187.  F.  2. 

—  Chin.  P.  189.  F.  13.  —  Jap.  P.  198.  F.  3. 
P.  200.  F.  1—7.  —  Ren.  P.  213.  F.  1—6. 
P.  224.  F.  3—8.  P.  232.  F.  4.  P.  244.  F.  3, 
10,  11.  P.  246.  F.  1-6.  P.  251.  F.  1,  2. 
P.  253.  F.  3,  5.  P.  270.  F.  1,  5,  6-12.  — 
Lat.  Ren.  P.  273.  F.  2,  4.  P.  275.  F.  1—6. 


P.  284.  F.  1,  2.  P.  286.  F.  1—6.  P.  294. 
F.  1,  2.  P.  297.  F.  1.  —  Roc.  P.  319. 
F.  1,  2,  7.  P.  320.  F.  1—4.  P.  321.  F.  1,  4-6. 

—  18th  C.  P.  347.  F.  1.  P.  348.  F.  1.  P.  350. 
F.  1,  5,  6.  —  Emp.  P.  381.  F.  4.  P.  382. 
F.  1.  —  Biederm.  P.  395.  F.  1,  2,  4—7.  - 
Neo  G.  P.  399.  F.  6.  P.  400.  F.  2,  3.  — 
Pages  307,  387,  617. 

Throne.  —  Russ.  P.  111.  F.  2,  4,  5.  —  Roc. 

P.  318.  F.  3.  —  Emp.  P.  382.  —  Page  29. 
Thurible.  —  Romque  p.  75.  F.  8. 
Tiara.  —  Ren.  P.  251.  F.  9. 
T'ing.  —  Chin.  P.  189.  F.  12. 
Toilet  table.  —  18th  c.  P.  370.  F.  2. 
Tomb.  —  Etrus.  P.  31.  F.  2,  6,  7.  —  Romque 

P.  95.  F.  7.  —  Goth.  P.  181.  F.  3.  —  Ren. 

P.  201.  F.  6.  P.  203.  F.  1,  7.   P.  206.  F.  1. 

P.  227.  F.  2.   P.  261.  F.  1.  P.  267.  F.  1. 

Lat.  Ren.  P.  310.  F.  4.  —  Pages  69.  215. 
Torch.  —  Grec.  P.  30.  F.  18.  —  Page  90. 
Tribune.  —  Emp.  P.  379.  F.  2. 
Trident.  —  Ind.  P.  16.  F.  11,  19,  23. 
Tripod.  —  Assyr.  P.  10.  F.  3.  —  Grec.  P.  28. 

F.  7.  P.  29.  F.  14.  —  Etrus.  P.  32.  F.  15,  18. 

—  Rom.  P.  39.  F.  3.  P.  40.  F.  1.  P.  44. 
F.  8.  —  Pomp.  P.  47.  F.  14,  15,  17.  — 
18th  c.  P.  347.  F.  4. 

Trireme.  —  Rom.  P.  44.  F.  13. 

Trophy.  —  Lat.  Ren.  P.  278.  F.  4.  —  18th  c. 

P.  362.  F.  1,  4. 
Tureen.  —  Lat.  Ren.  P.  286.  F.  5.  —  Emp. 

P.  381.  F.  2. 
Turret  cresting.  —  Ren.  P.  250.  F.  6. 
Tympanum.  —  Romque  p.  73.  f.  12.  P.  81. 

F.  5,  6.  P.  95.  F.  2.  —  Goth.  P.  163.  F.  3. 

P.  165.  F.  2.  —  Page  191. 
Typographic  ornament.    —    Ren.    P.  214. 

F.  1,  3,  5,  6.  P.  219.  F.  6.  P.  226.  F.  2,  7. 

P.  247.  F.  7.  P.  253.  F.  2,  4.  -    Lat.  Ren. 

P.  296.  F.  1.   —   Roc.   P.  318.   F.  1.   — 

Pages  310,  337,  376.  543. 
Valence.  —  Lat.  Ren.  P.  284.  F.  1.  —  Roc. 

P.  320.  F.  2.  —  18th  C.  P.  350.  F.  1.  P.  367. 

F.  3.  P.  371.  F.  6,  9. 
Vase.  —  Preh.  P.  1.  F.  5—7,  12,  13.  34,  39. 

P.  2.  F.  1,  2.  9,  10,  12,  14,  16,  17,  21.  — 

Phoen.  P.  13.  F.  6—9,  15—17,  19.  —  Ind. 

P.  16.  F.  17,  28,  30,  31.  —  Grec.  P.  17. 

F.  13.   P.  26.  F.  1—4,  6—10,   12.   P.  30. 

F.  24.  —  Rom.  P.  40.  F.  2,  3,  5,  6.  P.  42. 


646 


INDEX  OF  ILLUSTRATIONS. 


F.   14,    17.    —    Pomp.    P.  47.    F.   13.    — 

Celt.  P.  51.  F.  9,  13.  P.  53.  F.  17,  21.  — 

Mahom.  P.  133.  F.  8.  10.  —  Goth.  P.  138. 

F.  2.  —  Chin.  P.  190.  F.  2,  3,  6,  8.  P.  191. 

F.  1—3,  5.  P.  192.  F.  3,  5,  7.  P.  193.  F.  6, 

7,  9.  —  Jap.  P.  1%.  F.  4,  6.  —  Lat.  Ren. 

P.  273.  F.  3.  P.  278.  F.  7.  8.  P.  305.  F.  5. 

—  Roc.  P.  314.  F.  4.  P.  316.  F.  3.  P.  328. 

F.  6.    —    Col.   P.  335.    F.  4.    —    18th  c. 

P.  346.    F.  4.    P.  352.    F.  4.    P.  360.    F.  5. 

P.  351.  F.  3.  P.  373.  F.  4.  —  Emp.  P.  385. 

F.   4.    P.  393.   F.  3.    —   Neo   G.   P.  298. 

F.  3,  4.  P.  400.  F.  4.  —  Pages  112,  467. 
Vase   painting.  —  Grec.    P.  27.   F.  1—29, 

33-  39,  41—43.  —  Pages  36,  43. 
Velvet.  —  Ren.  P.  213.  F.  6.   P.  224.  F.  7. 

P.  246.   F.  4,  5,  6.   —  Lat.  Ren.    P.  575. 

F.  5.  P.  286.  F.  1. 
Vestment  —  Lat.  Ren.  P.  294.  F.  1,  2. 
Vignola's  orders.  —  Page  444. 
Votive  cross.  —  Early  Chr.  P.  59.  F.  4. 
Votive  crown.  —  Early  Chr.  P.  59.  F.  3. 
Wall  decoration.    —    Assyr.    P.  8.   F.   16. 

P.  9.  F.  3,  5,  8,  10.  —  Mahom.   P.  114. 

F.  3,  4.  P.  115.  F.  11,  14.  P.  127.  F.  7,  12. 

P.   128.  F.    1—4.    P.   130.   F.   4.   —  Ren. 

P.  234.  F.  5,  6,  8.   P.  238.  F.  3.   P.  249. 

F.  3.  —  Lat.  Ren.  P.  303.  F.  6.  —  18th  c. 

P.  341.   F.   4.    P.  342.    F.   4,  5.    P.  345. 

F.  1,  2.  P.  347.  F.  5.  P.  348.  F.  3.  P.  374. 

F.  5.  —  Emp.  P.  377.  F.  4.   P.  388.  F.  1. 

P.  389.  F.  1. 
Wall  paper.  —  Ren.  P.  237.  F.  3.  —  Lat. 

Ren.  P.  296.  F.  2. 
Wall  tapestry.  —  Ren.  P.  224.  F.  4. 
Wall  tiles.  —  Russ.  P.  109.  F.  3,  6.  P.  111. 

F.  6.  —  Mahom.  P.  114.  F.  3,  4.  P.  115. 

F.  11,  14.  P.  118.  F.  1—6.  P.  119.  F.  1—7. 

P.  123.    F.  3.    P.  126.    F.  1-17.    P.  127. 

F.  5—7.   P.  128,  F.  1—5.   P.  129.  F.  1-5. 

P.  130.  F.  4.  —  Ren.  P.  234.  F.  5,  8. 
Wardrobe.  —  Roc.  P.  330.  F.  2,  4. 
Warrior.  —  Rom.  P.  75.  F.  14.  —  RomQ^e 

P.  100.  F.  18.  —  Pages  99.  101. 
Watch.  —  Lat.  Ren.  P.  294.  F.  4. 
Weapons.  —  Preh.  P.  1.  F.  16.  17,  20,  25, 

26,  39,  40,  42,  44.   P.  2.  F.  3,  4,  26,  27,  41, 

42,  44.  —  Egypt.  P.  6.  F.  12,  14.  —  Assyr. 

P.  10.  F.  5.  —  Ind.  P.  16.  F.  10,  19.  23, 

24,  27,  32,  33.   —   Grec.  P.  29.  F.  5,  16, 

20,  21.  —  Rom.  P.  41.  F.  2,  12.  —  Celt. 


P.  52.  F.  6.  P.  53.  F.  1,  2,  5,  10.  —  Early 
Chr.  P.  61.  F.  2.  —  RomQue  p.  lOO.  F.  4, 
12.  —  Russ.  P.  110.  F.  6.  —  Mahom. 
P.  115.  F.  4,  9.  P.  120.  F.  2.  P.  133. 
F.  3,  7.  P.  134.  F.  2.  —  Goth.  P.  160. 
F.  4,  14—16,  18.  —  Jap.  P.  196.  F.  5,  7. 

—  Ren.  P.  215.  F.  3.  P.  222.  F.  1.  3,  4,  5. 
P.  243.  F.  1.  P.  251.  F.  7,  8.  —  Page  335. 

Wedge.  —  Preh.  P.  1.  F.  36.    P.  2.  F.  8,  11. 

Wheel.  —  Page  452. 

Window.  —  Assyr.  P.  8.  F.  5.  —  Ind.  P.  15. 

F.  1.  —  Byz.  P.  69.  F.  5—7,  13.  —  Romq^e 

P.  73.  F.  9,  10.   P.  76.   F.  17.   P.  81.  F.  7. 

P.  86.  F.  4.   P.  87.  F.  4,  5.   P.  92.  F.  1. 

P.  93.  F.  3,  8.  P.  95.  F.  8.  P.  97.  F.  3,  5. 

P.  98.  F.  2,  3,  P.  102.  F.  3,  5.  —  Mahom. 

P.  712.  F.  6,  13.  P.  113.  F.  14—16.  P.  114. 

F.  1.  P.  124.  F.  4,  5.  P.  125.  F.  7.  P.  127. 

F.  3,  8.  P.  132.  F.  1,  2.  —  Goth.  P.  144. 

F.  2.   P.  148.  F.  2.   P.  149.  F.  7.  P.  151. 

F.  1.  P.  154.   F.  9.  10.  P.  164.  F.  12—15. 

P.  165.  F.  1,  3,  8.  P.  166.  F.  1,  2,  5.  P.  178. 

F.  1,  4.  P.  184.  F.  1,  3,  4.  P.  185.  F.  1  -4. 

P.  186.  F.  3.  —  Chin.  P.  189.  F.  12.  —  Camb. 

P.  195.  F.  3.  —  Ren.  P.  201.  F.  1.  P.  207. 

F.  2.  P.  208.  F.  4.   P.  216.  F.  2.   P.  236. 

F.  1.    P.  259.   F.  4.   —   Lat.  Ren.    P.  271. 

F.  6.   P.  277.  F.  4.   P.  288.  F.  1,3,  4,  6. 

P.  299.  F.  4.  P.  302.  F.  2.  P.  308.  F.  2,  5. 

—  Roc.  P.  310.  F.  6,  7.  P.  330.  F.  1.  — 
CoL  P.  337.  F.  1,  2.  —  18th  Q  P.  352.  F.  1. 

—  Neo  G.  P.  397.  F.  1.  —  Pages  113,  281. 
288.  295.  361.  424.  610. 

Window  column.  —  Romq^e  p.  97,  p.  3,  5. 

—  Goth.  P.  185.  F.  4.  —  Ren.  P.  234.  F.  3. 
Wine-can.  —  Chin.  P.  101.  F.  4. 
Winged  globe.  —  Assyr.  P.  8.  F.  11. 
Winged  steer.   —   Assyr.   P.  9.  F.  13.   — 

Pers.  P.  11.  F.  9. 
Winged  sun.  —  Egypt.  P.  7.  F.  8. 
Wood -carving.    —    Preh.   P.  3.  F.   4,    9, 

11  —  13.  —  Egypt.   P.  6.  F.  20,  21.   P.  7. 

F.  16.  —  Romque  p.  73.  F.  3.  P.  74.  F.  10. 

P.  75.    F.  1,   9,   11  —  13,   16,   21.    P.  103. 

F.  1  —  11.  P.  104.  F.  1-6.  P.  105.  F.  1—4. 

—  Russ.  P.  109.  F.  2.  P.  110.  F.  13.  — 
Mahom.  P.  113.  F.  5—7,  11,  12,  16.  P.  115. 
F.  10,  15,  16.  P.  116.  F.  4-5.  P.  120. 
F.  1.  P.  121.  F.  1—4.  P.  131.  F.  5.  — 
Goth.  P.  143.  F.  12.  P.  145.  F.  1,  5.  P.  152. 
F.  1-10.  P.  154.  F.  1,  5,  6.  P.  156.  F.  1-4. 


INDEX  OF  ILLUSTRATIONS. 


647 


P.  157.  F.  1-6.  P.  158.  F.  1,  3,  4.  P.  164. 
F.  1—5,  8—11.  P.  167.  F.  6,  7.  P.  168. 
F.  1,  3— ii.  P.  170.  F.  3,  4,  6.  P.  171. 
F.  1-7.  P.  18.  F.  5.  P.  187.  F.  5.  —  Chin. 
P.  189.  F.  1—12.  —  Jap.  P.  196.  F.  3,  8. 
P.  197.  F.  1—4.  P.  199.  F.  3.  —  Ren. 
P.210.F.  1-3,  5,  6.  P.215.  F.2,  4.  P.  217. 
F.7.  P.  219.  F.  1-5,  8.  P.  220.  F.  1—6. 
P.  230.  F.  1,  4,  7,  8.  P.  232.  F.2,  3. 
P.  234.  F.  2,  4.  P.  235.  F.  3,  8.  P.  237. 
F.  4,  6.  P.  238.  F.  1-6.  P.  241.  F.  5. 
P.  249.  F.  1—4.  P.  250.  F.  1-8.  P.  253. 
F.  6,  7.  P.  254.  F.  4.  P.  255.  F.  1.  P.  257. 
F.  1—7.  P.  259.  F.  1  — 10.  P.  260.  F.  10. 
P.  261.  F.  4.  P.  262.  F.  1,  2,  6.  P.  263. 
F.  1-8.  P.  264.  F.  1-3,  6,  7.  P.  265. 
F.  1-6.  P.  266.  F.  1,4.  P.  267.  F.  4. 
P.  268.  F.  5.  P.  269.  F.  1—7.  P.  270. 
F.  2-4,  13.  —  Lat.  Ren.  P.  274.  F.  1,  5. 
P.  278.  F.6.  P.  282.  F.  5.  P.  283.  F.  1, 
3,4.  P.  284.  F.  4-6.  P.  287.  F.  1.  P.  290. 
F.  1.  P.  291.  F.  1-4.  P.  293.  F.  2,  5. 
P.  296.  F.  3-5.  P.  297.  F.  2.  P.  299. 
F.2.  P. 301.  F.2— 8.  P.  303.  F.  2,  4,  6,  7. 
P.  304.  F.  1,  3.  P.  305.  F.  1-4,  6,  7. 
P.  308.  F.6.  —  Roc.  P.  313.  F.  1,  2.  P.  317. 
F.  1,  2,  4.  P.  318.  F.3-5.  P.  320.  F.  3. 
P.  321.  F.  10.  P.  325.  F.  1-4.  P.  327. 
F.  1.  P.  330.  F.  1-5.  P.  331.  F.  1— 8 
P.332.  F.  1—3,  5.  P.  333.  F.  1-3,  8-10.  — 
Col.  P.  334.  F.  2,  5.  P.  335.  F.  2,  3,  6-8. 
P.  337.  F.  3-11.  P.  338.  F.  4.  —  18th  Q 
P.341.F.  1,  4,  5.  P.344.  F.  1-4.  P.  345. 
F.  2.  P.  347.  F.  1—3.  P.  348.  F.  1,  2,  5. 
P.  349.  F.  1-7,  9,  10.  P.  353.  F.  1-3. 
P.  367.  F.  1—3.  P.  369.  F.  1  -  5.  P.  370. 
F.  1-3,  6-7.  P.371.  F.  2-9.  P.  372. 
F.  1—3,  5,  6.  —  Emp.  P.  380.  F.  4. 
P.  381.  F.  4.  P.  383.  F.  1-5.  P.  385. 
F.  2,  9,  10.  P.  386.  F.  1—5.  P.  387. 
F.  1—3,  5.     P.  390.  F.  1.    P.  391.  F.  1-7. 


P.  392.  F.  1—3.  —  Biederm.  P.  394.  F.  1-7. 
P.  395.  F.  3.  —  Neo  G.  P.  396.  F.  1. 
P.  398.  F.  1,  2,  6,  7.    —    P.  399.  F.  1,  3. 

—  Pages  183.  288.  410.  418.  442.  452, 
603.  616. 

Wooden  trellis  work.  —   Mahom.  P.  113. 

F.  5,  7,  11,  12,  16. 
Wooden  weapon.  —  Preh.  P.  2.   F.  8,  11. 

—  Ind.  P.  16.   F.  32,  33. 

Work  table.  —  Emp.  P.  386.  F.  1. 

Woven  work.  —  Preh.  P.  3.  F.  8.   —  Ind. 
P.  16.  F.  29,  34.  —  Grec.  P.  28.  F.  2. 

Writing  bureau.  —  18th  C.  P.  372.  F.2.  — 
Emp.  P.  383.  F.  1.  —  Neo  G.  P.  399.  F.  3. 

Writing  desk.  —  Rom.  P.  75.  F.  9.    P.  84. 

F.  11. 
Wrought  iron-work.  —  Ind.  P.  14.    F.  11. 

—  Romque  p.  74.  F.  4.  P.  83.  F.  1,  2,  10, 
11.  P.  84.  F.  1,  2.  P.  99.  F.  13.  P.  105. 
F.  5,  6.  —  Mahom.  P.  11 2.  F.  9,  10.  P.  125. 
F.  2,  4,  5.  —  Goth.  P.  138.  F.  5,  6.  P.  140. 
F.  5,  8.  P.  145.  F.  3,  4,  6.  P.  151.  F.  3,  5. 
P.  156.  F. 5.  5. 158.  F.2.  P.  169.  F.  1- 16. 
P.  171.  F.3.  P.  173.  F.  1.  P.  180.  F.  1-4. 
P.  181.  F.  6.  P.  187.  F.  3.  —  Jap.  P.  198. 
F.  1.  —  Ren.  P.  209.  F.  6.  P.  225.  F.  3. 
P.  230.  F.  2,  5.  P.  231.  F.  3,  5,  6.  P.  232. 
F.  5.  P.  238.  F.  7.  P.  241.  F.  4,  7.  P.  242. 
F.  1—9.  P.  243.  F.  1,  2,  6.  P.  252.  F.  5. 
P.  254.  F.  2,  3.  —  Lat.  Ren.  P.  272.  F.  1. 
P.  274.  F.  2,  3.  P.  278.  F.  5.  P.  280. 
F.  1—7.  P.  282.  F.  1,  2.  P.  288.  F.  5. 
P.  289.  F.  1—7.  P.  290.  F.  2.  P.  294. 
F.  3,  5.  P.  297.  F.  4.  P.  298.  F.  1—3. 
P.  303.  F.  1,  3.  P.  304.  F.  5.  P.  306. 
F.  1—10.  P.  307.  F.  1—7.  —  Roc.  P.  314. 
F.  5.  P.  317.  F.  3.  P.  324.  F.  6.  P.  327. 
F.  5.  —  Col.  P.  338.  F.  2.  —  18th  c.  P.  346. 
F.  1-3.    P.  354.  F.  3-6.    P.  375.  F.  1,  2. 

—  Pages  252.  335.  480. 


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